^ TURN TO THE RIGHT 



A Comedy 

IN A PROLOGUE AND THREE ACTS 



BY 
WINCHELL SMITH and JOHN E. HAZZARD / 



Copyright, 1915, by WINCHELL SMITH and JOHN E. HAZZARD 



ALL RIGHTS RESERVED. 



/ 



NEW YORK 

.SAMUEL FRENCH 

PUBLISHER 

28-30 WEST 38TH STREET 



LONDON 

SAMUEL FRENCH. Ltd. 

26 SODTHAMP'TON STREET 

STRAND 



<iopN/2, 



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J 



©CI,D 45773 



5; 7 '7 S 



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JAN 2 1917 



TURN TO THE RIGHT. 

As produced at the Gaiety Theatre, New York 
City, August 17th, 1916, under the management of 
Winchell Smith and John L. Golden. 



CAST OF CHARACTERS. 

As produced at the Gaiety Theatre, New York 
City, August 17, 19 1 6. 

Joe Bascom Forrest Winant 

MuGGS William E. Meeltan 

GiLLY Frank Nelson 

Deacon Tillinger Samuel Reed 

Sam Martin Edgar Nelson 

Lester Morgan Roy Fair child 

Callahan Harry Humphrey 

Isadore Al. Sincoff 

Moses Geqrge Spelvin 

Mrs. Bascom Ruth Chester 

Elsie Tillinger Louise Rutter 

Betty Bascom Lucy Cotton 

Jessie Strong Alice Hastings 

Katie Justine Adams 



Prologue — In a Pawn Shop. (Early morning.) 

Act I. In Mrs. Bascom's kitchen. (That even- 
ing-) 

Act II. Outside Mrs. Bascom's kitchen. (Next 
morning.) 

Act III. Same as Act II. (Ten months later.) 
3 



CAST OF CHARACTERS. 



IsADORE Polish Jew Pawn Broker. (60) 

Joe Bascom (Peter Turner) . .Tall, slight, 

handsome. (23) 
MuGGS. .Short, quick talking lozv comedian. (27) 

GiLLY Grim, hard faced but likeable. (30) 

An Old Tailor Polish Jew. (65) 

Betty Bascom Pretty, dark haired girl. (18) 

Jessie Strong Pretty, red headed girl. (25) 

Mrs. Bascom Sweet faced, frail little 

woman. (60) 

Sam Martin Short, fat country boy. (18) 

Deacon Tillinger. . . .Large, shrewd, shifty- 
eyed. (58) 
Lester Morgan . .Handsome, dark, well-bred 

and well-groomed. (26) 

Elsie Tillinger Pretty, young girl. (21) 

Tom Callahan, Detective Medium sice, 

blunt, kindly. (45) 



TURN TO THE RIGHT 



PROLOGUE. 

Scene :i — Ossiiiiiig Loan Bureau. 

A very dingy looking room filled ivith articles 
of all descriptions. 

There is a double door R. c. protected by heavy 
zvire screening on the outside. Over these doors 
is a transom through ivhich may be seen the 
pawn broker's sign of three balls. On both 
sides of the door are large shozv -windoivs — on 
the upper half of each of these zvindozvs is 
painted " OSSINING LOAN COMPANY", 
the letters running backwards. Behind the zvin- 
dozvs are boards arranged at an angle running 
quarterly to the top of the zvi)idozv as if zvares 
zvere shozvn on the other side. A fezv articles 
are seen above these boards hanging from zvires, 
such as Umbrellas, Canes, Gun, etc. Through 
the doors and zvindozvs are seen the sidezvalk 
and street, and buildings on the opposite side of 
the street. At r. windozv is small shelf upon 
which are piles of goods. 

A door dozvn l. leading to hall where a sup- 
posed flight of stairs leads to an apartment 
above where Isadore lives. 

From R. c. to l. c. is a counter set on line zvith 
back zvall. At the R. end is a small desk 
enclosed with a zvire cage zvith small opening. 
Behind this counter are shelves and a repository 
for clothes enclosed zvith curtains. When these 
curtains are opened a number of suits and over- 
5 



6 TURN TO THE RIGHT. 

coats may be seen hanging. At jl. of this counter 
are a number of packing cases, trunks, etc. A 
chair without a back, and an old box is in front 
of it. 

At L. above door is repair table with tailor's 
goose, pressing board, etc. 

There is an old chair at repair table. There 
is a trunk and several suit cases, etc., r. c, a 
dummy at back between door and window. A 
high stool back of desk. 

Time :— 6 : oo A. M. early July. 

Before the curtain rises, there is a rap at 
door up c. as of someone frying to open it. 
The curtain rises slowly. The door is locked. 

This is followed by a loud rap. A pause. 
Joe comes to window at r., looks into room to 
see if anybody is about, then goes back to door. 
The rap is repeated even louder. 

IsADORE. {Heard off-stage l.) Yes, yes, yes. 
I'm coming! (Is adore enters hurriedly in slippers, 
trousers and undershirt. He is an old Jeiv of about 
sixtv, somewhat bent and decrepit. He is pulling 
up his suspenders over his shoulders as he comes 
on. Another rap at the door up r. c. He increases 
his gait and shambles to the door, calling loudly) 
Yes, yes, yes ! Wait a minute I ( The door is shaken 
violently) Here — here — here — don't shake down the 
door! (He reaches the door, unlocks it, unbolts it, 
and throws it open. Joe Bascom, knoivn as Peter 
Turner, stands in the doorivay. Joe is dressed in a 
loud flashy suit, considerably faded, spotted and 
wrinkled; a brilliantly colored neck-tie and high 
" extreme " collar, dark slouch hat and black lace 
shoes. He is an attractive looking boy of about 
tzventy-three. Isadore opens door — excitedly) 
Well, what's the matter? (Joe enters— comes down 
R.) Say, what's the matter with you? 



TURN TO THE RIGHT. 

Joe. This is {Looking about) the Ossining 
Loan Bureau? 

IsADORE. {Right of Joe) Six o'clock in the 
morning you wake me up to ask me this? 

Joe. Do you run a hotel too? I got \vord two 
pals of mine were here. 

IsADORE. Two fellows got a room here last 
■night. 

Joe. I want to see them. 

IsADORE. At such a time! Everybody is 
asleep yet. Come around in a couple of hours later. 
{Starts to push Joe out) 

Joe. Then I'll wait. {Looking about the room) 
Got any clothes to sell? 

Isadore. {With sudden change of manner) 
Oh! Why didn't you say so at first? Sure! Sit 
down, mister. I was just going to get up anyvay. 
{Crosses to d. l.) I overslept myself this morn- 
ing. I'll wake up your friends right avay. (Calls 
off L. in Yiddish for his wife to vake up the tzvo 
guests) Rechal, Rechal, veck off die three val 
bayes veche three gekimen shlufen g^stern loy 
nacth. (Goes back of counter) My wife is now 
waking them up already. So, you're around doing 
business early this morning. 

Joe. Yes. 

Isadore. What can I do for you. 

Joe. I want a suit of clothes. 

Isadore. Yes, sir. (He turns to suits hanging 
at back, reaches behind curtains c. and brings out 
suit with very loud pattern) 

Joe. Something cheap, now. 

Isadore. Cheap stuff — I ain't got it. But I sell 
it to you cheap. 

Joe. That's what I mean. 

Isadore. (Comes in front of counter) How 
do you like this suit? 

Joe. No. 

Isadore. This sm't is a regular sporty one. 



8 TURN TO THE RIGHT. 

Joe. My sporting days are over. I want a plain 
dark one — you know — something different from 
what I got on. 

IsADORE. {Nodding understandingly) Ah! I 
understand — I got jus<- the one you want. — (Goes 
above counter) Now wait a minute and I'll show 
it to you. {He disappears behind the curtain with 
suit) 

Joe. Second hand will do. 

IsADORE. {Behind curtain) I know — nearly 
new. {He comes dozvn front of counter, l. of 
Joe. with old, blue serge suit) Now here is it 
a suit — a regular chatsky — {Taking coat off 
hanger) I got, from a gentleman three suits at 
a 

Joe. {Breaking in) How much? 

(IsADORE gives him a shrezvd glance, then looks suit 
over carefully, caressing it — then holds it up 
to Joe and speaks as if he knezv the price would 
be a great and delightful surprise.) 

IsADORE. C. B. O. — for you — twelve dollars! 

Joe. {Looking it over) Let's see how it fits. 
{He takes off his own coat and puts on the blue 
one) I gave thirty for that one. 

IsADORE. Sure, I believe you. {Looks over Joe's 
loud, faded suit) It's a fine suit — ^good material — 
fine. 

Joe. How'll you trade? 

IsADORE. Trade! — For what? — For this rotten 
suit? 

Joe. I want to trade this suit for a plain dark 
one. 

IsADORE. {After some thought — magna.ii- 
mously) Now listen here — I tell you what I do with 
you. {Puts dowm Joe's coat, takes trousers and vest 
from hanger, and hands them to Joe) — Put your- 
self into these clothes and let me have eight dollars. 

Joe. I'll give you two. 



TURN TO THE RIGHT. 9 

IsADOEE. (Persuasively) Five, mister? 

Joe. (Takes tip his ozvn coat) No. 

Is ADORE. (Stops Joe from taking the coat and 
puts pants and vest on counter) Do you want some- 
thing else, maybe? 

(Joe looks about and sees old shawl on counter c. 
— holds it up.) 

Joe. What's this worth? (Hands shawl to Is- 
adore) 

Is ADORE. (Taking shaivl from him) Look at 
the fringes on it ! It's a pleasure to look at it. — 
Here, I give it to you. 

Joe. Give it to me? 

IsADORE. You pay me the difference on that 
suit, and I give it to you for a present. 

(Joe throws sharvl on counter. He has the blue 
coat on. The fit is quite good except the 
sleeves.) 

Joe. The sleeves are too long. 

IsADORE. I fix it for you right avay — (Miasur^ 
ing place sleeve should come) — Shorten it about this 
size, and fix the other the same size — and the back's 
first class. 

Joe. Yes, that's right. Where can I try these 
on? (The trousers) 

Isadore. (Indicating hallway L.) Right out 
there, mister. 

(Joe sees old doll on counter and picks it up.) 

Joe. I'll give you fifty cents for that. (Gives 
Isadore doll as he goes out of door l. Isadore 
hands Joe pants and vest as he crosses to l. c.) 

Isadore. (Ejaculating with disappointment) 
Fifty cents for that doll! Have a heart, mister! 



10 TURN TO THE RIGHT. 

(IsADORE looks after Joe amazed that he has the 
nerve to make such a low offer, then shrugs his 
shoulders) All right, I wouldn't fight with you. 
I'll let you have it for fifty cents. (He goes back 
of counter — zvraps doll and shawl in separate 
bundles) 

Joe. (Off l.) Will you wrap the shawl and doll 
in separate bundles ? 

IsADORE. Sure, mister. I put them in as many 
bundles as you vant. 

Joe. And fix the sleeves? 

IsADORE. I'll have it fixed right away. (He calls 
off stage l. in Yiddish for an old tailor who works 
for him to come in as he wraps up shawl and doll in 
paper) Itzick, Itzick ! 

Old Tailor. {Off stage L.) Vooes is? 

IsADORE. Shtae off ich hob gekrigen a costomer 
men darf ficksen a rug. Stae off gicher is is a 
special order. 

Old Tailor. Ich veil bald arunter kimen. 

IsADORE. {As ]oz enters -L.) Ah! I know that 
suit's going to fit you just like new 

(Joe throws the trousers that he has taken off on 
counter, first taking $io bill from trousers 
pocket and transferring it to trousers he is 
wearing. Goes c.) 

Joe. You keep this suit and I owe you five-fifty. 

IsADORE. (l. c.) Yes, sir. 

Joe. ( Taking out $10 bill) Have you got change 
for ten dollars? 

IsADORE. {Taking the hill) Certainly I got 
change. He takes the ten, looks at it shrezvdly, 
goes up l. c, takes out small bills, counts out four 
ones and two quarters in change. As he is doing 
this MuGGS enters from l. He is putting on coat 
and waistcoat at the same time — sees Joe and rushes 



TURN TO THE RIGHT. n 

to him— his coat half on. He shakes hands with 
him violently and ends by hugging him. 

(MuGGS and Gillv are two ex-convicts; Muggs, 
a pick-pocket, Gilly, a second story man. In 
their profession, they are both considered high 
class artists and both are proud of their ability. 
Muggs is rather the smaller of the tzvo and 
much more of a talker. Though he is ready 
at a moment's notice to talk positively on any 
subject, it is quite easy for him to change his 
mind. Gilly, though more quiet and less as- 
sertive, has more real determination once his 
mind is made up. The three have spent nearly 
a year together in Sing Sing and have become 
the closest pals. Gilly has been out two 
months and Muggs, two weeks. Muggs is 
dressed fairly well, and though his clothes are 
rather sporty, they are not noticeably so. {A 
man, zvho, mingling in a crowd, ivould not at- 
tract undue attention) He wears a collar and 
flashy tie, with tan shoes. His coat and ivaist- 
coat are tn a good state of preservation, but his 
trousers are somewhat frayed at the bottoms 
and at the pockets. Gilly is dressed in a rather 
ill fitting suit of dark brown or gray, plain 
color and is rather seedy. He wears low collar 
black tie and lozv black shoes. The shoes of 
both have rubber heels. They enter sleepily 
and shozv signs of having dressed in a areat 
hurry.) " 

Muggs Well, well, well! If it ain't the kid I 
Joe. {With great cordiality) Hello, Muffpsl 

(Muggs goes to Joe) Where's Gilly? ' 

Muggs. (Shaking his hand and embracing him) 

He 11 be here m a minute. How are you. old scout ? 

You re lookin great! Right out on schedule time. 

too! 



12 TURN TO THE RIGHT. 

Joe. {With glance of warning toward Isadore) 
Sh ! Yes, I'm out early this morning. 

[The Old Tailor enters l. goes to repair table, 
sits.) 

IsADORF. (To Joe) Your change, gentlemen. 

(Isadore, after Joe tkes the money, goes up behind 
counter, picks up old blue serge coat and sub- 
stitutes Joe's blue serge coat which he takes 
from under counter; goes to Old Tailor and 
explains how it is to be fixed, sleeves shortened 
etc.) 

Joe. (Taking the money) Four fifty — that's 
right. (He crosses to l. c. and Gilly enters. Joe 
hurries to Gilly, saking his hand warmly) Hello, 
Gilly ! 

Gilly. (l. c. — Speaking with Joe) Hello, 
Pete! 

MuGGS. (r. c.) Gilly ain't all there yet. He's 
sleep walkin' now — but he'll come to, if you give 
him time. 

Gilly. (Crossing to Muggs. — scowling) Don't 
talk about " givin' me time ! " (Sits on counter) 

Muggs. (Grinning) He's wakin' up now. 
What he needs is an eye opener. (Crosses to Joe 
L. c.) Have you got the price of a drink, kid? 
We're flat. 

Joe. Sure I have. 

Muggs. Where's your coat? 

(Isadore has gone to Old Tailor and is talking 
to him in low voice. He is saying he is going 
to breakfast and is Itelling the old tailor to 
keep his eyes on the boys.) 

Joe. (Indicating Old Tailor) He's fixin' it. 

Isadore. (Crosses to d. l.) It'll be ready right 



TURiSI TO THE RIGHT. 13 

avay. Is there anything else I can do for you? 
Joe. Not for me. 

IsADORE. Veil, if you should vant something, 
I'll be out there. (Points off l. Isadore ivarns the 
Old Tailor again, in Yiddish, to keep his eves on 
the boys, and exits d. l., closing door) Itzick — 
heet. 

Old Tailor. Nu, nu, men sail nit gonvennen. 

Joe. I just bought this suit of him. 

Mdggs. What you buyin' clothes for? When 

you got out this mornin', didn't they ? 

Joe. (Crosses right of counter. Breaking in — 
low tone) Nix on that " Got out " stuff! (Glanc- 
ing at the Old Tailor) 

MuGGS. Aw, (Joe points to Old Tailor. Muggs 
realising zvhat he means) that's all right — he can't 
understand English. (To Old Tailor) Can you, 
Moses? 

Old Tailor. No. , 

Muggs. He admits it. How sooii'll that coat be 
ready ? 

Old Tailor. (Shaking his head) No. No 
English. 

Muggs. (fuming to Joe) See! 
Joe. I Just traded my suit for this. (Crosses 
and offers Muggs o quarter) Here, you two get a 
drink. 

Muggs. Ain't you goin' to have one ? We want 
to celebrate you bein' a free man again. 

Joe. I ain't goin' to celebrate that way. It was 
booze that got me sent up — now I'm on the wagon 
for life. 
Muggs, Aw,' what are you givin' us ! 
Joe. (Quietly and sincerely) That goes — I mean 
it. (Offering quarter again) Here, go ahead. 

Muggs. Have you got enough to stake us to 
breakfast? 

Joe. Cerainly. They give me ten dollars to start 
life over again. — Here. (Takes out a dollar hill) 



14 TURN TO THE RIGHT. 

MuGGS. {Not taking it) No, you come with us. 
You ain't sworn off eatin' for life too, have you? 

Joe. I had my breakfast. 

MuGGS. You can't call that stuff they hand out 
up in the prison, breakfast. 

Joe, Well, it was fillin'. You two go ahead. 
I'll wait for you. {He offeres a dollar bill. Muggs 
takes a quarter from his hand) 

MtTGGS. {Crosses to Gilly) Go out and get a 
bottle, win you, Gilly ? 

Gilly. {Quickly — up to door R. c.) Sure. 
{Takes quarter) 

MuGGS. {Front of counter) Well get twice as 
much that way. And, Gilly! (Gilly stops at door 
and turns) Take your first drink after you come 
back. 

Gilly. Sure. {He exits r. c. to left) 

Joe. But you've got to have something to eat. 

MuGGS. {Crosses to d. l.) Perhaps we can get 
it here. {Calls off) Hey, Pop! 

Joe. You don't want to eat in this place. 

MuGGS. He give us a hand out last night that 
was all right. 

IsADORE. {Coming on l.) You want something? 

MuGGS. What'll you take for a couple of cups 
of coffee ? 

IsADORE. Coffee ? 

Joe. We want two breakfasts. Can you get us 
something? 

IsADORE. Well, it ain't my regular business — but 
I'll ask my wife. 

Joe. How much ? 

Muggs. {Taking quarter from Joe — gives it to 
Isadore) Here — get us all you can for that. 

ISADORE. A quarter! 

Muggs. Twenty-five cents. 

IsADORE. Well, I ask her. 

Muggs. {Crosses to e. c.) That's right, you 
ask her. 



^ TURN TO THE RIGHT. 15 

(ISADORE exits D. L.) 

Joe. (Goes to Muggs) Now, what are you and 
Gilly doing here? I couldn't believe it when I got 
that message from you last night. 

Muggs. Took us half the day yesterday to slip 
that word to you. We wouldn't take a chance going 
up to the prison to see you for fear somebody'd get 
suspicious. 

Joe. One of the " trusties " tipped me off. 

Muggs. Yes. We saw him doin' some work on 
the outside and told him we'd meet you in this pawn 
shop. 

Joe. What is it? A fence? 

Muggs. No. Gilly bought some stuff here when 
he got out two months ago — and when my time was 
up, he come up to Ossining to meet me — same as 
we did to meet you. 

Joe. Did you fellows come way from New York 
just to see me when I got out ? 

Muggs. Sure. We want to welcome you into the 
great world once more. 

Joe. Can you beat that! Well, (Crosses right 
of Muggs) it's been an awful year I put in there. 
(To Muggs) — but it wasn't nearly so bad after I 
got acquainted with Gilly and you. Remember how 
we missed Gilly when he left? 

Muggs. Sure. 

Joe. Then think what it was for me after you 
went out a couple of weeks ago ! Each day seemed 
a year! (He shivers at the thought) I've learned 
my lesson, Muggs. (Sit^ on trunk) You can bet 
on that. 

Muggs. Oh, forget it, and start over. (He gets 
old chair from front of counter, drazvs it to trunk 
on which Joe is sitting, as if to start on a long story) 
Say, listen ! Me and Gilly has got a great idea all 
doped out. It's a bird — Wait 'till you hear about 
it. (Gilly enters door r. c. Comes dozvn right of 



i6 TURN TO THE RIGHT. 

Joe with small flask of Rye Whiskey) Ah ! Here's 
the fire water. I'm just tellin' Pete the great scheme 
wc got 

GiLLY. (Holding bottle up to the light and look- 
ing to see if it's quite full) What do you think 
ot it? 

Joe I don't know what it is yet. Wait a minute 
I'll try to find you a glass. (Joe rises and crosses 
to c) 

MuGGS. (GiLLY has uncorked bottle and hands it 
to MuGGS. Rises — goes to Joe. Gilly follozvs) 
What do you want of a glass? Just booze and a 
mouth — that's all you need. (Offers bottle to Joe) 
Go ahead, just one. 

Joe. No. Never again. 

MuGGS. Well, I ain't got time to argue. Here's 
luck ! (He drinks, zvipes off neck of bottle and hands 
it to GiLLY. Crosses to right, sits on trunk) 

GiLLV. (Offers it to Joe) Sure you won't? 

Joe. (Shaking head) You bet I'm sure. 
(Crosses to right, sits on chair at trunk. Gilly 
drinks, then sits on counter. Lights cigarette, etc. 
JoF looks at MuGGs) Now what's this scheme of 
yours ? 

MuGGS. (Excitedly) Well, you know that horse 
you used to tell us about? — The one you was crazy 
over just before you got pinched? 

Joe. Fire-fly ? 

MuGGS. Yes, Fire-fly. Well, he's entered at Bel- 
mont to-morrow in the big race. 

Joe. (Interested) No? 

MuGGS. Sure as I'm tellin' you. It's his first 
start in the East, too. Now, listen. This is the 
scheme, see! After I get out, me and Gilly talks 
over that stufif you was always handin' out in there 
about goin' straight, and we make up our minds you 
was dead right ; — Ain't that so, Gilly ? 

Gilly. Sure ! 

MuGG. So we plan just to wait around till your 



TURN TO THE RIGHT. 17 

time is up and not to " pull " anythin' while we's 
waitin' — see ! 

Joe. {Looks at Gilly) And you've both kept 
straight ever since you got out? 

MuGGS. Sure we have. Ain't done a thing — ex- 
cept pinch a little change now and then, just to eat 
with. But wait till you hear the big idea ! Now we 
know how you used to foUie the races — see? — And 
that you're wise to all the live ponies — and you're 
in soft with all the best trainers — so we dope it out 
that the three of us would go in together — beat the 
race game to a stand-still — and cut out the old crook 
stufif. Then, right after we plan it, we finds this 
Fire-fly colt, that you're nutty about, starts to-mor- 
row 

Joe. But how are we goin' to bet on him ? — You 
two are flat broke and I've got four bucks 

MucGS. Let me tell you. Me and G'Hy knows a 
place in the Bronx where we can turn a little trick 
to-night that'll get us five hundred cases at the very 
least. Now, we 

Joe. Here, here, here! (Looks at Gilly and 
MuGGs) How about goin' straight? 

MuGGS. Sure we're goin' straight — that's the 
whole idea of it. But we got to have a roll to go 
straight with, ain't we ? 

Gilly. Just workin' capital, Pete. 

MuGG. Yeh — that's it — workin' capital. 

Joe. That's no good, boys. 

MuGGS. I tell you it's the only way to do it. — 
And this job is a cinch. Why listen, kid. We ain't 
no yaps at our business. Gilly can put it over any 
safe crackin' guy I ever see work — and I hate to 
talk about meself, but you put that four bucks in 
any part of your clothes where I can't get it and I'll 
make you a present. Now, everybody'll tell you the 
only chance us guys take of gettin' pinched is doin' 
the thing once too often — But there ain't no such 
chance now, because this is the only time we're goin' 



i8 TURN TO THE RIGHT, 

to do it — and they ain't nobody can call once, often. 
Besides, we want to go straight just the same as you 
do. 

Joe. It won't do, Muggs. First, that's no way 
to get a roll. Next, if you do get it, the chances are 
it wouldn't last long at the track. — If luck is with 
you, you can win fast, but if it's against you, as it 
mostly is, they'll break you — and last, I couldn't go 
with you anyway. (Gilly and Muggs look at each 
other) — I got somethin' to do — and I've got to do it 
alone. 

{There is a slight pause.) 

Muggs. You mean you don't want to be seen 

around with us. 

Joe. No, no. No. You got me all wrong. (He 
puts his hand on Muggs' shoulder — looks at Gilly) 
Why, I think of you two fellow's as the best pals I 
got in the world — that's on the square. ( To Muggs) 
Three people can't be together day after day like 
we've been, shut up in that hole, without knowin' 
each other inside out, and we — Well, we're pals, 

that's all ! (Muggs and Gilly look at each 

other and nod solemnly) But I got reasons why I 
can't go into no scheme with you or anybody else that 
knew me in there. This whole year that I've been 
shut up, my one big worry was whether — whether 
someone — would find it out. I don't think they have, 
but if they did, I'll never see 'em again — because they 
wouldn't live through it. (Muggs and Gilly look 
front, Joe looks at Muggs) I didn't go by my real 
name on the tracks and no one found it out when I 
was sent up. — {Looks front) That's the one thing 
I'm countin' on. 

Muggs. You're married, ain't you, kid ? 

Joe. No, I ain't married. 

Gilly. Eh — A skirt! {Gets off counter — goes 
L. c. Throws azvay cigarette) 



TURN TO THE RIGHT. 19 

MuGGS. (To Joe) Yeh, that's what he always 
thought it was — a dame. Say — the chances are 
you're goin' to get knocked cold when you go look- 
in' for her. I had a lot of experience with dames 
and twice I goes back after doin' time expectin' to 
have a fuss made over me — say ! — they couldn't re- 
member what my name was — passed me up like they 
never seen me before— and it's a good bet that's 
what's goin' to happen to you. 

Joe. {Smiling) You're all wrong, Muggs. 

MuGGS. I talked like that once. 

GiLLY. What're you goin' to do after you seen 
the dame ? 

Joe {Rising) I'm goin' to work. 

(They both look at him.) 

Muggs. What kind of work ? 

Joe. {Goes c.) Anything I can get to do. 

Muggs. (Rising) Why, you ain't got a chance, 
Kid. Nobody'll hire you 

Joe. (Front of counter) Anyhow, I'm going to 
try. I love a horse— I can't help that— but I put all 
the race track game out of my mind when I dis- 
carded these. (He picks up his old coat and trousers 
from the counter. The Old Tailor up l. ex- 
postulates violenly, motioning Joe to put them down) 

Old Tailor. Here, here, here! Chapinit. 
(Comes down with coat, helps Joe on with it) 

Joe. What's the matter with you— I ain't goin' to 
swipe 'em. 

Muggs. And there ain't no use tryin' to get you 
to come to New York with us ? 

Joe. (Taking up bundles) Can't Muggs— can't 
even thmk of it. (Looking at Gilly and Muggs) 
I probably won't— won't ever see you fellows again 
(There is a pause— they turn away) But I'm never 
gom' to forget you, and I hope you'll do what I 
want you to— there ain't nothin' in the other game. 



20 TURN TO THE RIGHT. 

(He buttons up his coat, draws his hat well down 
over his eyes, takes out the four one dollar bills, 
and puts two of them on the counter) Here's half 
my roll, boys. That'll get you back to the big town. 
crosses to chair r. c, with his back to the boys, and 
arranges paper on bundles) 

MuGGS. (Crosses to counter) Nothin' doin'. 
If you're goin' to work, you'll need all you got. 

GiLLY. What time does your train go? 

Joe. No train for mine. I don't want anybody 
to see me on a train. Where I'm goin' is only a day's 
walk from here. I'll get there by dark — and I don't 
want to be there before. 

(GiLLY picks up money from counter and motions 
MuGGS to give it back to Joe. Muggs goes to 
Joe, touches him on left should. Joe turns to 
him, then Muggs — putting his right hand on 
Joe's right shotdder, and patting him feelingly, 
he slightly elevates his chin with his elbow to at- 
tract his attention. At the same time, zvith 
lightning rapidity, he slips the money into Joe's 
vest pocket without Joe's being aware of it. 
There is a moment's pause. Note. — Muggs 
palms the money.) 

Muggs. So long, old pal. (He goes to counter) 
Joe. (Crossing to Gilly, taking his hand) 
Good-bye, Gilly. ( Gilly shakes his hand, but does 
not reply. Joe shakes hands with Muggs, who has 
gone r. of counter) So long, Muggs. (Muggs 
Shakes hands and also does not reply. Joe has the 
two bundles, containing the shazvl and the doll, goes 
to door up R. c, turns and gives Muggs and Gilly 
a long look. They have their backs to him. Unstead- 
ily) Good luck ! (He exits door r. c, past ivindow 
to L. Muggs and Gilly hold position. A pause) 

Muggs. (Turning away. Goes to trunk. Sits) 
Well, he's gone. 



TURN TO THE RIGHT. 21 

IsADORE. (Coming on from l.) De breakfast's 
ready, boys. 

MuGGS. To hell with the breakfast ! 
GiLLY. Eat it yourself ! 

(IsADORE looks at them in surprise. Gilly goes to 
MuGGS and offers bottle to him.) 

CURTAIN. 



TURN TO THE RIGHT. 



ACT I. 

Scene: — Mrs. Bascom's kitchen. 

The kitchen of a farmhouse, set built as small 
as possible. Everything is cheap and plain but 
the zvhole room has the appearance of cheeri- 
ness, coziness, order and spotless cleanliness. 

Entrance door up l. c. When the door is 
opened a porch is seen at the back. A door 
down L. leading to parlor. A second door, above 
parlor door and facing front, leads upstairs. 
A door down r., leading to a zvoodshed ivhere 
the kitchen stove is placed during the Summer. 
In the upper r. corner is a chimney-place, in an 
obliqued flat — there is a hole for a stove-pipe, 
covered with a piece of tin. There are a number 
of large nails or pegs driven into the wall in the 
chimney-place, on which are hung numerous 
pans, kettles, etc. 

At r., betzveen the woodshed door and the 
chimney-place, is a large cupboard with curtain 
in the tipper section, through zvhich may be seen 
dishes, etc., the shelves are covered with oil- 
cloth. This cupboard has a fiat top under zvhich 
are tzvo shallozv drawers, one for knives, forks, 
spoons, etc., the other for tozvels, etc. Below 
these drawers are two doors behind which are 
kept flour, sugar, etc. 

There is a kitchen table, with drawer, covered 
23 



24 TURN TO THE RIGHT. 

with oil-cloth, about c. Above and below it are 
two cheap chairs, l. c. Mrs. Bascom's easy 
chair and a small stand on which are Mrs. 
Bascom's Bible, work-basket and spectacles, 
and in the drawer is Tillinger's bill. 

c, in the back flat is a window. Below this 
window is a kitchen table covered 7vith oil-cloth. 
Betzveen the window and the chimney is a sink 
with a pump. On r. side of sink is a zvooden 
shelf. A hat rack nailed to the wall, to the 
right of entrance door l. c. On the chimney is 
a small shelf ivith an old clock on it. Two oil 
lamps, chimneys covered with paper bags. A 
what-not, hangs on wall, L. — on ivhich the brush 
aud a vase of flowers are placed. A chair L. of 
window with a re4 table cover on it. 

Time : — Five-forty-five p. m. On the same day as 
Prologue. 

DISCOVERED:— ^f rise, Jessie and Betty. 
Betty up r. c. at sink, back to audience, zvash- 
ing dishes. Jessie above table c, wiping them. 
Betty is a pretty dark-haired girl of 17. She 
is dressed plainly and poorly but despite that 
fact her appearance is attractive and scrupu- 
lously neat and clean. Her sleeved are rolled 
up and slie wears an apron. 

Jessie is also a pretty girl, somewhat larger 
than Betty, and several years older. Her com- 
plexion is lighter than Betty's, her hair is red. 
Her dress, though of much nicer quality than 
Betty's, is not at all stylish and has the ap- 
pearance of being " made at home ". She also 
has on apron, evidently loaned her by Betty. 
The c. table is covered with oil-cloth; on the 
table is an old cruet, containing salt, pepper 
and vinegar, pitcher of milk, also a small pile 
of plates, cups and saucers, knives oid f.rks 



TURN TO THE RIGHT. 2$ 

and spoons that the girls have finished washing. 
The girls continue to work as they talk. 

Jessie. {At r. of table, adding the plate she has 
been zviping to the pile on table) I guess you'll like 
it better after you get all moved in. Don't you think 
so? (Jessie speaks with a lisp. Betty does not 
anszver but continues to zvash dishes, and places them 
on left of sink. Jessie goes up for the plate and 
begins to dry it) Betty, I say, don't you think you'll 
like it better after you get all moved in ? 

Betty. {Who has finished washing the last dish. 
Turns to Jessie) Oh, Jessie ! — I — I — hate to think 
about it ! 

Jessie. {Going to center-table) Oh, I've never 
been in the house myself, but it looks real cute from 
the outside. — (Betty turns back to sink. Jessie 
goes up and takes last plate) When do you expect to 
move .'' 

Betty. I don't know^. Pretty soon, I suppose. 
Jessie. {Going to table) Of course it'll seem 
strange livin' in another house at first — but when you 

get used to it 

Betty. {Turns down to Jessie) Don't talk 
about it, please, Jessie. 

Jessie. {At table) I thought that was the best 
way 

Betty. {Coming to Jessie) I think it's the 
worst way! 

Jessie. You do? {Puts down plate) Why, I 
never mind a thing so much if I keep talking about 
it. 
Betty. Well, I mind it more! {Goes to sink) 

(Mrs. Bascom enters from l. down stairway, carry- 
ing hat and light wrap. Mrs. Bascom is a little\, 
szveet-faced woman, something over fifty, but 
looks older. Though of delicate build she is 
energetic, used to hard work and apparently 



26 TURN TO THE RIGHT. 

likes it. She wears almost continually a 
pleasant, cheery smile. Like Betty, she gives 
the impression of immaculate cleanliness. She 
is dressed in her best go-to-meeting clothes, some 
soft, plain material.) 

Jessie. (Turns to Betty) Well, you needn't be 
so touchy ! It ain't my fault your Ma's got to move. 

Betty. (Back to Jessie) Jessie, you're just as 
mean as you can be ! You — (She sees Mrs. Bascom, 
— Jessie turns and sees her also — Pause) 

Mrs. Bascom. (Goes to center-table, smiling and 
speaking enthttsiastically, as if she had not heard the 
roiv) Well, I declare! But you girls have been 
mighty spry, washing up the dishes. — I didn't think 
you'd be half through! (She goes to chair, putting 
down hat and shawl, then to hall-way, gets apron ) 

Jessie. (Turning to Betty) Will you forgive 
me, Betty? 

Betty. It was my fault. I'm awfully sorry. 
(Betty pvits dish cloth on sink and carries dishes 
to cupboard, and arranges dishes that she takes to 
table when she sets it for Joe. A plate, cup and 
saucer, knife and fork) 

Jessie. (Goes to Mrs. Bascom who has come 
down front of stand) Why, Mis' Bascom, how nice 
you look, you're all dressed for meetin', ain't you? 

Mrs. Bascom. (Putting on apron) Yes, Mis' 
Tuttle's sick, and I want to sit with her a while, 
so thought I'd change my things first — It was real 
good of you to help Betty with the dishes 

Jessie. Oh, that's all right — Betty helps me lots 
of times. 

Mrs. Bascom. (Takes towel from Jessie) 
You're sure you won't be late for your supper? 

Jessie. Oh, no, we don't have tea till half-past 
six — (Goes to stairway, hangs up apron) 



i TURN TO THE RIGHT. 27 

Mrs. Bascom. Well, we had ours early to-night. 
(Crosses to table at window) Now, Betty, I 
want to put on this fresh lot of peaches before 
I go, the others are about done. {Goes to table 
at window, takes up bowl of peaches, turns to table 
c. Sam Martin enters from porch up l. c. He is a 
short, rather stout, red-faced country boy, keen-eyed 
arid shrewd. He seems to be the first to find out and 
distribute any neiv piece of village gossip) Evenin', 
Sammy ! {Puts bowl of peaches on center-table) 

Sam. {Comes down l. c.) How do. Mis' 
Bascom ! {He sees Betty and Jessie, grins at them 
broadly) Howdy, girls ! 
Jessie. {With superior air) Good-evenin'. 
Betty. Hello, Sam. {Quietly places sticks in 
window, empties dish-pan, hangs pan at chimney, 
puts dish cloth on sink) 

Sam. {To Mrs. Bascom) I brung over that 
crate of preserve jars— they're there on the stoop — 
what'll I do with 'em? (Indicates kitchen porch) 
Mrs. Bascom. (Crossing to zvoodshed door; 
leaves towel on l. of center-table) You can leave 
them right there. Thank you, Sammy. 

Sam. Old Tillinger told me to bring back all the 
jam you got ready. 

Mrs. Bascom. (At door r., reprimanding him 
kindly) Deacon Tillinger, Sammy, or Mr. Till- 
inger. 
Sam, Yes'm — (Looks at Jessie) 

(Mrs. Bascom exits into woodshed.) 

Jessie. Huh ! (Crosses to r. of table) 
Sam. Deacon or Mister, If I called him what I 
thought of him, it would be a dumed sight worse 
than " old Tillinger ! " He's the meanest old cuss 
I ever seen, and stingy !— he's closer than the next 
second. 



28 TURN TO THE RIGHT. 

(Betty puts lemon, etc., on table c, and hangs dish- 
cloth out of window.) 

Jessie. (At r. of table) What makes you work 
for him then? (Goes to cupboard with sugar-bowl 
and cruet) 

Sam. Who else is there to work for here, 'less 
you go to farmin' ? His store is the only one in the 
village that you can call a regular store. 

Jessie. (Coming to table) Well, if I was work- 
in' for somebody, I wouldn't go around runnin' 
him down. 

Sam. I suppose you think he's all right because 
he's a pillow of the Church. 

Jessie. Well, whatever he is, his daughter is a 
friend of mine, and I don't want to hear nothin' 
against him. ( Goes to cupboard with cups and milk 
pitcher. Betty places kettle on table c.) 

Sam. (Suddenly) Oh! — have you seen her fel- 
ler? 

Jessie. (Turns) Whose fellow? 

Sam. Her'n. Elsie Tillinger's. The feller 'twas 
courtin' her while she was away to school. 

(Betty back of table, stops work and listens.) 

Jessie. How could I of seen him ? 
Sam. Cause he's here — visitin'. 



Betty. What! ■^(^Together) 
Jessie. Here! ^ " ' 



(Greatly excited. Comes to chair front of table) 
How does he look, Sam? 

Sam. Great! I never see such a swell feller. 
You oughta seen him lookin' over the store. (Sam 
puts his hands behind him and walks about the room 
in imitation. He looks over right wall, at kettles, 
etc., hanging there) Quite extraordinary, isn't it? 
I declare! I declare! I declare! (Betty comes 



TURN TO THE RIGHT. 29 

down L. of table) One can get most anything here. 
By jove! (He walks over K. c. and pretends to look 
about) 

Jessie. That's like Englishmen tallc in books. 
He ain't English, is he? 

Sam. No, but he's swell American society — 
that's just about as bad. 

Jessie. Is he handsome, Sam? 

Sam. Well, he ain't so pretty as he is swelL 

Jessie. How long is he going to stay ? 

Sam. I dunno — but it'U be as long as old Mr. 
Deacon Tillinger can get him to. You can bet on 
that. He's drivin' 'em around in the buggy now, the 
three of 'em all squeezed onto the one seat. Him 
on one side, Elsie on 'tother, and the Deacon in be- 
tween 'em, so they can't hold hands, or nothin'. 
(Betty laughs turns to L. c.) They was goin' to 
show him your Maw's peach orchard, Betty. I 
heard him say so. 

Jessie. {With sudden thought, going to Betty) 
Oh, Betty, I wonder if they're goin' to get married 
and — {Going up to porch door, looking off to 
orchard) live in this house ! 

(Betty turns up-siage to table at window. Mrs. 
Bascom enters from woodshed zvilh basket 
filled with jars of preserves, and jar of chicken 
broth.) 

Mrs. Bascom. There you are, Sammy! (Sam 
takes basket) Tell the Deacon that's all I got this 
evenin', but I can give him plenty more to-morrow, 
now the jars have got here — (Crosses to back of 
center-table, puts bowl of chicken broth on lower l. 
corner) I'm stewin' a new mesS to-day. {Takes 
up bowl of peaches) 

(Jessie turns at door.) 



30 TURN TO THE RIGHT. 

Sam. (Puts down basket and takes out order- 
book) Do you want anything from the store? 

(Betty comes down L. of fable.) 

Mrs. Bascom. (After a look at Betty. Putting 
peaches into kettle) I gues& not to-day — thank you 
Sammy. 

Sam. (Picks up basket, crosses to d. l. c.) 
You don't order hardly nothin' lately 

Mrs. Bascom. (Smiling gaily after looking at 
Betty) Well, when our ship comes in, Sammy, 
(Betty goes to cupboard and gets bucket of sugar) 
we'll order enough to make up 

Sam. It might come in if you'd only — (Jessie 
comes down stage) change your mind about that 
proposition 

(Mrs. Bascom smiles.} 

Betty. (At r. of fable) What proposition, 
Sam? 

Sam. (Coming to l. of table) The proposition 
of lettin' me sell the jam for her — (Jessie goes to 
stand, looks at bible. Betty crosses to l., puts sugar 
bucket on table, takes cover off, puts it on chair) 
Why, if she'd only give me the chance of selling it — 
I'll bet I could get her twice what the Deacon pays — 

Mrs. Bascom. (Laughing) Why Sammy ! — 
Deacon Tillinger knows what jam's worth a good 
deal better than you and me. He's been in the 
Grocery business all his life. 

Sam. 'Course he knows, but he ain't lettin' on to 
you. 

(Jessie turns.) 

Mrs. Bascom. (Shocked) Why, Sammy! 
Sam. No, he ain't. Mis' Bascom. — Why I could 
tell you somethin' that would make your hair stand 



TURN TO THE RIGHT 31 

trp — (Mrs. Bascom and Betty exchange looks) 

only I can't, 'cause I'm a business man 

Mrs. Bascom. (Puts bowl down) Now, Sammy 
you mustn't say anythin' against the Deacon. You 
know what the bill is I owe at the store— and he's 
never once asked me to pay it ; and he's always sold 
the peach crop for me and never charged me a penny 
for doin' it. (Puts iu lemon) 

Sam. {Coming back to table) Well, if he's as 
good as all that, he oughtn't to mind if you get more 
for your preserves, had he ? 

Mrs. Bascom. If you want to sell them, Sammy, 
why don't you speak— (^^/m«c^ the peaches) to 
the Deacon about it? 

Sam. {Going up to door) Not much! 

Betty. {At l. of table, putting lemon squeezer in 
bozvl) Why don't you let Sam try, if he wants to. 
Maw? 

Mrs. Bascon. I wish I could, Betty, but the Dea- 
con wouldn't like to have Sammy goin' to his cus- 
tomers. 

Sam. (Coming back to table) I won't sell none 
of it around here 

Mrs. Bascon. {Surprised) You won't? 

Sam. No, Ma'am, not a jar 

Mrs. Bascom. Oh, well, I don't see any harm 
in it then. (Jessie back of e. ch.) 

Betty. (Picks up bozvl) Let him try, Maw ! 

Sam. Aw go ahead. Mis' Bascom ! 

Mrs. Bascom. All right, Sammy— If you don't 
sell any of it in the village, I'll be glad to have you. 

(Betty turns up to table at window.) 
Sam. (Delightedly) Good! Much obliged, 
Mis' Bascom ; I'm through with Tillinger to-night! 
(Goes to door) People think I don't know nothin'i 
but I got a chance to show 'em I'm a business man 
now — a great chance. 



32 TURN TO THE RIGHT. 

(Betty puts bowl on table at window; then goes fo 
c. B. Jessie comes to l. of center-table as Sam 
exits quickly through the porch.) 

Mrs. Bascom. {Wiping table) Sammy's a real 
good boy — But sometimes I don't think he's quite 
right in his mind 

Betty. {Arranges dishes at c. B.) I think he is 
— He meant something, you see if he didn't ! 

Mrs. Bascom. Well, I hope so. Will you help 
me with the other kettle, Betty! (Mrs. Bascom 
exits into the woodshed, taking towel with her; 
Betty precedes her, Jessie crosses toward mirror) 

Mrs. Bascom. {Speaking off r.) Jessie, will 
you hold the door open, please ! 

(Jessie does so. Betty and Mrs. Bascom re-enter 
carrying kettle, smoke rising from it, and place 
it with some effort on the sticks arranged on 
window sill. The smoke rising from the kettle 
is seen curling slowly through the open win- 
dow.) 

Jessie. {As they enter) Goodness, that's heavy I 
you have a long way to carry things from the stove, 
don't you? 

Mrs. Bascom. {Puffing a little as she sets down 
the kettle) I always have the stove moved out into 
the woodshed in the Summer, it keeps my kitchen 
so much cooler. (Mrs. Bascom and Betty move 
table to c. of window. Betty hangs up towel, then 
gets water in measure and brings it to table, puts it r. 
of table. Mrs. Bascom goes to center-table) 

Jessie. My stars, that smells good ! You make 
the most delicious jam in the world, Mis' Bascom. 
Everybody says so. ( Takes teaspoonful of jam and 
goes to easy chair l., sitting on the arm) 

Mrs. Bascom. {Puts in sugar. Betty puts away 
sugar) I've made it a good many years now. 



TURN TO THE RIGHT. 33 

(Mrs. Bascon, during this dialogue, with scoop 
sprinkles sugar over the peaches, then pours in some 
ivater from measure that Betty has brought from 
sink, then takes small bottle from drazver of table 
and carefully drops in flavoring liquid, then stirs in 
kettle a moment zvith lotig spoon) The worst of it 
is my stove ain't big enough to stew but one batch 
at a time. {Looks at clock) I ought to be over to 
Mis' Tuttle's this very minute. 
Jessie. (Picks up jar of broth) Is this for her? 

(Betty puts away measure.) 

Mrs. Bascom. Just a little broth I made from 
that lovely piece of chicken your ma sent us. Betty 
and me did enjoy that chicken so much ! {She has 
put in the drops of flavoring extract and put bottle 
back in drawer of table) Now, Betty, let's get this 
on the stove! (Betty and she lift kettle, Betty 
also gets wooden bowl from table at window. They 
exit to woodshed. Jessie puts spoon on tabe at 
windozv, and again holds door open for them) 

Mrs. Bascom. {As she crosses Jessie) Thank 
you, Jessie. (Jessie crosses to easy chair at l. and 
gets Mrs. Bascom's bonnet. Mrs. Bascom speaks 
as she re-enters taking off apron, goes to easy chair) 
Now, at half-past six, Betty, close the damper and 
put in another pint of water. {Puts apron on easy 
chair and picks up shawl and puts it on) 

Betty. Yes'm. 

(Jessie has picked up Mrs. Bascom's bonnet. She 
puts it on Mrs. Bascom as she stoops. Betty 
gets jar from table. Mrs. Bascom is standing 
at L. c, Jessie on her l. and Betty on her r.) 

Mrs. Bascom. {As Jessie helps her on with 
bonnet) Thank you, Jessie. {Kisses her. She puts 
her arm around each girl and holds them close to 



34 TURN TO THE RIGHT. 

her for a moment) You're dear, good girls, both of 
you. (Betty hands her the jar) I shan't be a 
jiffy, Betty. Don't forget to give my love to your 
mother, Jessie. {She exits briskly up l. c.) 

Jessie. Yes, Ma'am. (Jessie goes up l. of stand 
to easy chair. Betty goes to front of table) Your 
mother is just an Angel, Betty. (Betty smiles 
proudly. Jessie takes apron off easy chair, puts it 
in hallway. Betty gets red table-cover from chair 
by window and spreads it on center-table) My 
stars! It's gettin' near supper time, I must be 
runnin' along. {Goes to mirror over sink and ar- 
ranges her hair) 

Betty. You'll be goin' past Elsie Tillinger's, 
won't you? 

Jessie. {Pretending she has just thought of it) 
Perhaps I will 

Betty. {At h. of table) You might see her beau 
if you do. 

Jessie. {Turns front) Huh! Well, it's better 
than nothin' to see somebody else's beau. 

Betty. Why don't you come over after supper 
and go to meetin' with us ? 

Jessie. {Crosses to h. i.. c.) All right! {Takes 
parasol from rack) 

Betty. {Goes r. of table) Thanks ever so much 
for helpin' me 

Jessie. {About to open door) Don't speak of 
it. 

{There is a knock at the door up l. c. and Deacon 
Tillinger enters. He is a tall, stoop-shoul- 
dered, sharp-visaged, sanctimonious old cock 
of about fifty. His maimer can be oily and in- 
gratiating at an instant's notice. He wears a 
Panama hat, linen duster, black trousers and 
very wide toed shoes.) 

Betty. {Placing chair at L. of table for him) 
Good-evenin', Deacon Tillinger ! 



TURN TO THE RIGHT. 35 

TiLLiNGER. (Pleasantly) How de do. Why, 
hello there, Jessie ! (He comes down L. c.) 

Jessie. How de do, Deacon. 

TiLLiNGER. I ain't drivin' you away, be I? 
(Looks at chair Betty places for him, but sits in 
easy chair l.) 

Jessie. No, sir, I was just goin'. Oh — (Comes 
down L. c.) Do you know if Elsie's home? 

TiLLiNGER. Well, I hardly think so. She's been 
goin' it quite some to-day. Her young man's a-visit- 
in' us. 

Jessie. (With assumed surprise) Yes, (Looks 
at Betty) we heard so? I suppose he must be 
awful attractive. 

TiLLiNGER. Yes, and his family is one of the 
oldest and richest in the country. 

Jessie. Isn't that lovely? 

TiLLiNGER. They ain't been in here, have they? 

Betty. (At r. of table) No, Sir. 

TiLLiNGER. (To Betty) I left them a half-an- 
hour ago, takin' a walk through your peach orchard, 
Betty. 

Jessie. (Hastily) Through the Orchard ! Well, 
(Up to D.) 1 must be runnin' along. Good-bye. 

Betty. (Crosses to d. l. c, closes it) Good- 
bye, Jessie. 

TiLLiNGER. (Going over to kettle of jam, sniff- 
ing and smacking his lips) Them preserves <;me!l 
might tasty. I got a whiff of them 'way out in the 
road — (He finds a spoon and helps himself) They 
taste better'n they smell. (Coming to r. of table 
c.) Just tell your Maw I'm here 

Betty, (l. of table) She's gone over to Mis' 
Tuttle's. She's sick. 

TiLLiNGER Who's sick — Mis' Tuttle or your 
Maw? 

Betty. Mis' Tuttle. 

TiLLiNGER. Well, you run over there, like a good 
girl, and tell her I want to see her a minute. 



36 TURN TO THE RIGHT. 

Betty. {At door, asks roguishly but a little 
frightened) Tell Mis' Tuttle or Maw? 

TiLLiNGER. {Laughing good-naturedly) He! 
He — You're a bright one you be. Your Maw. Now 
be lively! 

Betty. Yes, Sir. {She runs out quickly, without 
hat) 

{Left alone, Tillinger tastes the jam critically, 
stands chewing and looking front thoughtfully. 
Tillinger turns, goes up to get another spoon- 
ful, puts spoon down and looks through window 
to L. and calls off.) 

Tillinger. Mr. Morgan, here I be, come in. 

{After a moment's pause, Morgan enters jauntily. 
He is very fashionably dressed but in excellent 
taste. Rather swarthy complexion and black 
hair, exceedingly good-looking and stylish but 
doesn't conceal feeling very superior to the 
village and everybody in it.) 

Tillinger. {Coming down r. c.) Where's Elsie? 

Morgan. {Coming doivn L. c.) Gone home. 
She met a girl, Sadie somebody. They went along 
and I came to find you. — {Sniffs) I say, what's 
that? {Sniffs again) 

Tillinger. {Goes to him. Indicates kettle) 
Er? Oh! That's what I was tellin' you about. 

Morgan. The Preserves? 

Tillinger. Yes, she's just finished cookin' them. 
{Goes up, takes spoonful) 

Morgan. {Sniffing, goes front of table) Mm ! 
— Smells great ! 

Tillinger. {Coming down r. of table, offering 
spoon to Morgan) Try it 

Morgan. No thanks, I don't go in much for 
sweet stuff. 



TURN TO THE RIGHT. 37 

TlLUNGER. Just try it! 

f^MoRGAN Stands front of table, tastes the tip end 
of the spoon gingerly, pauses a moment to let 
the taste groio. Morgan starts to hand the 
spoon to TiLLiNCER drows it baek and eats entire 
contents.) 

Morgan. (Surprised. Hands spoon to Tillin- 
^er) By jove! That's ripping', — never tasted such 
stuff. (Goes L. c.) No wonder you say it's a big 
opportunity. 

TiLLiNGER. (Going up to windozv, puts spoon on 
table) What do you think of the orchard? 

Morgan. It's wonderful. 

TiLLiNGER. (Coining down front of table) You 
won't find peaches like those nowhere else in the 
country. Sister Bascom's brother — Uncle George 
they used to call him — planted that orchard years 
ago. He had the greatest knack for growin' fruit, 
and he fussed and dug around them trees right up 
to the day before he died. 

Morgan. (Goes to him) And you're reallv will- 
ing to turn the place over to me, to run on shares? 

TiLLiNGER. That's what I said. 

Morgan. You don't know what this chance 
means to me, Mr. Tillinger. 

TiLLiNGER. Well, no, I don't exactly — why 
a young feller with all your money should want 

Morgan. (Sits l. of table) That's it, I haven't 
got any money. 

Tillinger. (Front of table) What? 

Morgan. Not a Dollar! 

Tillinger. Why your father is one of the richest 
men in America. 

Morgan. Of course, the governor's got tons of 
it. 

Tillinger. I should say so. 

Morgan. Well, this is my situation, Mr. Till- 
inger, — I'm very fond of your daughter. 



38 TURN TO THE RIGHT. 

TiLLiNGER. (Delighted) I can't say I blame yon 
for that. 

Morgan. She is a beautiful girl — and a — 
Do you think I stand any chance with her? 

TiLLiNGER. Well, I guess you can find that out 
for yourself, 

Morgan. I want to find out. I want to ask 
her to marry me. 

TiLLiNGER. Why don't you. I ain't got no 
objections. 

Morgan. I'm afraid. On account of my Gover- 
nor. 

TiLLiNGER. What could he have against Elsie? 

Morgan. (Rises) Oh, no, it isn't that! He'd 
love her — he couldn't help it. 

TiLLiNGER. (Catches his eye) See here! Ain't 
you and your father on good terms ? 

Morgan. (After hesitation) No, sir. We're 
not — (Goes l. c.) In fact, Mr. Tillinger, I've left 
home. 

Tillinger. Left home! 

Morgan. You see, the governor has very strong 
ideas. — He thinks I ought to work and get along 
on my own 

Tillinger. (Quickly) And I agree with him. 

Morgan. Well, I confess I never did — until I 
fell in love with Elsie. Then I realized that my 
father would never consent to my getting married 
until I'd done something to show I could make good, 
but I know that if I disappeared and went to some 
out-of-the-way place, so that no one would find me 
or hear of me, and then, after a while, — I came 
back to my father with some money, that I'd earned 
myself, without any help from him — why it would 
maks such a hit with him that he'd be glad to have 
me marry, and he'd give me anything on earth I 
wanted. 

Tillinger. (Thinks) Yes — I see. (Goes to 
R. of table) Well, I'm willin' to help you, but there 



TURN TO THE RIGHT. 39 

won't be no engagement until you and your father 
have made up. 

Morgan. Of course, Sir. I prefer it that way, 
and I want to earn some money first. 

TiLLiNGER. Well, there ought to "be a lot of 
money in these preserves— ( To table at windozv) 
if the business is handled right. 

Morgan. {Sits l. of table) I should think so 
— It's a lucky think the people here haven't thought 
of it or they'd never have sold the place to you. 
TiLLiNGER. (Comes to back of center-table) 
Oh, I'm treatin' Sister Bascom fair. This ain't 
nothin' she could do. It's goin' to take money and 
business sense to develope the preserve business, 
and she ain't got neither. Why, she hardly gets 
enough out of the peaches to pay the interest and 
taxes. 

Morgan. Then how does she hve? 

TiLLTNGER. (Back of table, very religiously) 

Well, Sister Bascom had a wayward son 

Morgan. (Smiling) Like me, eh? 
TiLLiNGER. (Dropping the religious tone) He 
was a good-fer-nuthin', no-account brat. (Sifs 
back of table) He used to be always hangin' 

around Elsie 

Morgan. (Moving his chair backivard) Oh 
he did? Still like me, eh? 

TiLLiNGER. But I put a Stop to it. And right 
after that he ups and runs away. That's over ten 
years ago.— Sister Bascom felt terrible— but she 
never let on. She'd smile an' say, she let him go, 
and it was a good thing for a boy to go out in the 
world and fight his own battles, an' she knew he'd 

make his mark 

Morgan. (Without interest) Well, has he made 
his mark? 

TiLLiNGER. If he has it don't show much. But 
he always sent his Maw money to live on, regular 
as clock-work, after Uncle George died,— I'll say 



40 TURN TO THE RIGHT. 

that for him, 'till about a year ago he wrote 'em he 
was comin' home — ^an' they got all ready for him, 
an' that's the last they ever heard of himl No 
word, — no money, — no nothin'! His Maw sent 
letters to all the towns where she'd heard from him, 
— Sheepshead Bay, Baltimore, New Orleans — 
(Morgan looks front and smiles) to the Y. M. C. 
A's and different Ministers, — but she never got no 
trace of him. Well, from that time she's been 
gettin' behind more and more — an' now — this year 
peaches is a drug on the market ; why they're rottin' 
in New York by the car-loads. (Rises — r. of table 
— front) She can't get enough for them to pay for 
pickin' and shippin'. I'm makin' her comfortable, 
tradin' her a nice little place — givin' her a clear 
title and Five Hundred E>ollars just for her equity 
in this property. 

Morgan. {Rising to front of table) Very 
generous, I should say, and when I think of what 
you are doing for me 

TiLLiNGER. (Front of table) I'm doin' that for 
Elsie, — she's took to you. 

Morgan. Do you think so? 

TiLLiNGER. Oh, yes, — she's took to you, an' I'd 
like you for a son-in-law. — You come from a fine 
family, — the kind I want my daughter to marry 
into. 

Morgan. {Shaking hands) Thank you, Sir. 
I'll run over to the house now and say good-bye. 

TiLLiNGER. Good-bye? 

Morgan Yes, I'm leaving on the 6 : 40. 

TiLLiNGER. Can't you stay overnight? 

Morgan. No thanks, I'd like to but I've got some 
business at Belmont Park in the morning. 

TiLLiNGER. Belmont Par — Horse-racin' ? 

Morgan. (Laughing) Well, the Governor 
Starts '" Fire-fly " to-morrow in the big stake race. 

TiLLiNGER. I don't believe in hoss-racin'. 

Morgan. (Places chair he has just left, at table) 



TURN TO THE RIGHT. 41 

Oh, — I was raised on it — in the blood yon know, 
and " Fire-fly's " the best colt Dad ever had in his 
stable. 

TiLLiNGER. Now don't go riskin' money that 
way, Mr. Morgan — 'Tain't right if you want to go 
to work ! 

Morgan. No, Sir, I won't — but I've got to go 
to New York to-night. (Goes to door, stops and 
turns back) I'll be back to-morrow noon, ready 
to begin whenever you say. 

(Betty enters hurriedly, out of breath, from door 
of porch.) 

Betty. Maw's comin' right over. (Comes above 
center-table, she sees Morgan and stops speaking 
suddenly) 

TiLLiNGER. (fs above table r. of Betty) This 
is Sister Bascom's girl! This is — (Introducing 
them — Betty bows timidly) Mr. — er — He's a 
friend of Elsie's 

Morgan, (h. c. at door) How do you do? 

Betty. Pleased to meet you, I am sure. 

Morgan. We've been admiring your orchard. 
(To TiLLiNGER ) If I'm going to see Elsie and make 
that train — (Starts for door) 

TiLLiNGER. I'll drive you over — My buggy is 
right out there. 

Morgan. Thanks. Good-evening. (He exits 
door to porch and l.) 

TiLLiNGER. (Crossing to door) You can tell 
your Maw, an' save me waitin'. Say the deed for 
this place is all ready an' I'll look in before meetin' 
an' have her sign it. 

(TiLLiNGER follows MoRGAN off, closeS doOT. 

Betty, at the word deed, looks front with a 
startled expression, then makes effort to say 
" Yes Sir " steadily. When Tillinger has gone 



42 TURN TO THE RIGHT. 

she goes to zvindow up c. and looks off as though 
watching Morgan get into the buggy. It is 
dusk, the last rays of the setting sun shines in 
her face. As she turns from the windoiv she 
stands a moment in deep thought — her hands 
nervously twitching her handkerchief or bit of 
her dress. The clock strikes 6 : 30. — With sud- 
den thought she glances at the clock, takes quart 
measure from sink, pumps some water into it, 
pours some out as if getting just the proper 
quantity, and exits into woodshed. The stage 
is empty for several seconds. Mrs. Bascom 
enters from door of porch, puts empty jar 
on table at zvindow, comes down L. c, going 
toward parlor door, as Betty enters from wood- 
shed carrying two lighted lamps which che 
places on the center-table.) 

Mrs. Bascom. {Looking about the kitchen) Is 
the Deacon in the parlor, Betty? (Betty is stand- 
ing R. of table looking front; she does not answer) 
Betty ! 

Betty. {Going to Mrs. Bascom) He's gone. 
Maw! (Betty helps her remove hat and wrap) 

Mrs. Bascom. Oh, that's too bad 

Betty. He had to take Elsie's beau to the depot 
but he's comin' back before meetin'. 

Mrs. Bascom. Oh — I'm sorry I kept him 
waitin', (Betty takes her mother's bonnet and 
shawl, hangs them on rack at d. l. c. after assist- 
ing her to sit in easy chair) Thank you dear. 

Mrs. Bascom. {She puts on her spectacles and 
takes up her work-basket) Did you look after the 
Preserves, Betty? 

Betty. {Goes to r. of table) Yes'm. 

Mrs. Bascom. Sure the fire ain't too hot ? 

Betty. No, ma'am. It's just right. {Takes 
lamp, from table) Do you still want this in the 
window, Maw? 



TURN TO THE RIGHT. 43 

Mrs. Bascom. Always, Betty, every night, dear. 

(Betty puts lamp in window the curtain on either 
side of it is arranged so it leaves an opening 
zvide enough to let the light shine through. 
Mrs. Bascom sighs, puts her work basket on 
shelf of stand and takes Bible from stand. It 
opens at a place where it is apparent it has been 
opened many times before. Betty, after watch- 
ing her mother open the Bible, takes other lamp 
from table and places it on stand l.) 

Betty. (Crossing to stand with lamp) Mr. 
Tillinger left a message, Maw! 

Mrs. Bascom. (Eyes on Bible) Yes, dear? 

Betty. (Standing back of stand, hardly daring 
to trust herself to speak) He said the — the — deeds 
— was already — (Mrs. Bascom looks up from bible 
— Her hand grips the arm of the chair tightly. 
Betty takes chair from back of center-table and 
places it r. of table, then takes chair from l. of table 
and places it at c.) and — he'll bring 'em over for 
you to sign after the store's closed up. (Mrs. 
Bascom detects the quaver in Betty's voice. Looks 
up at her and smiles) 

Mrs. Bascom. Well, won't it be nice to have 
that all settled and done with? We're goin' to be 
real cozy in that little cottage, Betty. 

Betty. (Coming toward her mother) Cottage? 
— It's a shanty ! 

Mrs. Bascom. (Brightly) Oh, no, dear, — we can 
fix it up real nice and — comfortable. (Betty turns 
front) Besides we'll be able to manage much 
better over there and, as the Deacon says, this place 
is too much for us to keep without — without a man 
around 

Betty. (Suddenly breaking down and kneeling 
beside Mrs Bascom's chair) Oh, Maw! — If our 
Joe was only here. 



44 TURN TO THE RIGHT. 

Mrs. Bascom. (Strokes Betty's head tenderly) 
We'll hear from him some day, I know we will — 
Why, I keep prayin' and prayin' for it, and every 
time I pray I jest know my prayer is goin' to be 
answered. 

Betty. (Tearfully) People don't always get 
what they pray for, Maw. (Turns face up stage) 
Lots of 'em don't. 

Mrs. Bascom. (Trying to cheer Betty up, she 
puts her hand under Betty chin and raises her 
head) Well, then, perhaps it ain't right that they 
should. 

Betty. (Looking at her mother) And you do 
believe we'll hear from Joe, Maw — honestly 

Mrs. Bascom. I know it, Betty (Looks front) 
I know it! 

(Mrs. Bascom puts her hand on the Bible, bows 
her head, Betty watching her. — Pause. — Joe's 
face appears, looking into the kitchen from the 
window at c, then disappears. — There is an- 
other pause, and footsteps are heard on the 
porch. Betty rises and goes up towards win- 
dow. There is a knock at the door l. c. Betty, 
drying her eyes, goes to the door and opens it. 
Joe stands in the doorway. He still carries the 
two bundles and appears just as he did in the 
prologue, except his trousers and shoes are 
covered with dust. Joe and Betty stare at 
each other. Mrs. Bascom puts spectacles 
in work basket, on shelf of stand, and the 
bible on top of stand.) 

Joe. (Comes down l. of table, lays bundles on 
it and turns to his mother. Mrs. Bascom turns and 
gazes at him) Hello, little Lady! 

(Mrs Bascom slowly rises, dazed expression on 
her face. Goes to him and puts her hands on his 



TURN TO THE RIGHT. 45 

shoulders — scarcely believing it is Joe — then she 
J>uts her arms about him. Joe, almost timidly, 
puts his arnus about her. No one speaks — A 
pause — Joe stands awkzvardly embarrassed, as if 
he had forgotten ivhat motheiiy affection is like. 
Mrs. Bascom takes his face in both hands, looks 
into his eyes then kisses him.) 

(Note: — To get tlie effect of the above business; 
Joe should look much toiler than Mrs. Bascom. 
She should somehow appear more frail, and 
smaller than before.) 

Mrs. Bascom. {Half whispering) Joey! My 
Joey ! {Happily) And you come right in the 
middle of my prayer 

Betty. CEKiTy has come down vl. of table) Joe! 

Joe. {Turns to Betty) Why — this ain't Betty? 
(Betty throws her arms around his neck and Mrs. 
Bascom after a glance of pleasure at Joe and Betty 
suddenly turns to easy chair, kneels beside it, bows 
her head in prayer. Betty and Joe do not see her) 
Why you're all grown up, ain't you, kid ? A lady, 
and pretty tool 

Betty. {After smiling at compliment) Where 
have you been, Joe? Sick? 

Joe. {Reassuringly) No — I've been fine — never 
better. 

Betty. {A little sharply) Then why ain't you 
wrote us? It's been a whole year since we heard 
from you. 

Joe. I know — but you see, kid, I went away — 
unexpectedly 

Betty. Why ? 

Joe. Well, it was something I had to do. Couldn't 
get out of it. 

Betty. But why didn't you let us know? 

Joe. I was afraid it might worry you. 

Betty. But we have worried, Joe — we've 
worried terrible 



46 TURN TO THE RIGHT. 



.-_!• 



Joe. (Half to himself) You've had nothfn 
on me. (Sincerely) I'm mighty sorry, kid, but 
I'm back now and you're both here — and well — 
thank God! — Why Little Lady — {He turns to Mrs, 
Bascom) I've been — {He sees she is praying, 
stops speaking and he and Betty both stand silently 
watching Mrs. Bascom. After a little pause. She 
looks tip smiles and sinks back on the floor. Joe 
raises her from a sifting position, as she wipes her 
eyes, smiling joyously) How have you managed 
to live without me sendin' you anything? 

Mrs. Bascom. We've got on splendid — ^had every 
blessed thing we wanted — exceptin' you. 

Joe. That's the best news I've heard in a year. 
I've imagined all kinds of things happening to 
you 

Mrs. Bascom. The idea! The Lord wouldn't 
let us want, Joe. 

Joe. {Going to table and taking up bundle con- 
taining shawl) Here's a little present I brought 
you — (Hands it to his mother, then goes up and 
closes door) 

Mrs. Bascom. Forme? Oh, Joe! (She crosses 
to Betty r. of table — she and Betty unwrap if 
excitedly — Mrs. Bascom unfolds the shawl) Look, 
Betty, ain't it lovely ? 

Betty. (Seeing ticket pinned on it) What does 
the card say? 

Mrs. Bascom. Loan Bureau No. 9769. 

Joe (Quickly taking the card and tearing it up} 
Oh, that's nothing — it's a new kind of store — 
They call it loaning, so if you want your money 
back, or to exchange it 

Mrs. Bascom. (Crossing to R. — puts shawl on 
chair) I don't want to exchange it — it's beautiful. 

(Betty looks at the other bundle — Joe notices it.) 

JoF. (Taking up bundle) Kid, I got you this 



TURN TO THE RIGHT. 47 

Betty. {Taking bundle suddenly) Oh, thank 
you, Joe. 

(Mrs. Bascom and Betty unwrap it — Betty holds 
it up.) 

Joe. You see I'd forgotten how big you are. We 
•won't count this. (Takes the doll puts it on table) 
I'll get you a present later. 

Betty. (Picking up the doll) Oh, Joe, may I 
give it to Mis' Mason's little girl? 

Joe. Sure! (Going front of easy chair) 

Betty. She'll go wild over it. 

Mrs. Bascom. (Arm around Betty and smiling 
with approval) Betty's a dear good girl. But Joe, 
how did you get here? The 7: 10 ain't in yet, is it? 

Joe. I didn't come by train. 

Mrs. Bascom. (Crossing to Joe, t,. c.) Then 
how — Joey you ain't got one of them automobiles? 

Betty Oh, Joe have you? 

Joe. (Hesitating) No, I've been walkin' 

Betty. (Disappointed) Joe! 

Mrs. Bascom. Walkin'? 

Joe. Yes, I like to walk and this is the first good 
walk I've had for a long time. 

Mrs. Bascom. I should say yoxi had been walkin' 
— Just look at the dust on you ! Oh, you poor dear 
boy. (She gets wliisk broom from shelf on L.) 
You must be just tired to death. 

Joe. No, not a bit — Why it was great comin' 
through the country — seeing all the trees and brooks 
and flowers — it was great. (Mrs. Bascom starts 
to brush his clothes) Here! Here! I'll do that. 
(He takes the brush from her, goes out on the 
porch) Say, what was that I smelled when I was 
going past that window ? 

Mrs. Bascom Oh, that's a mess of my peach 
preserves. (Betty puts doll on cupboard and the 
paper under the cupboard, then places Joe's hat on 



48 TURN TO THE RIGHT. 

the rack. Mrs. Bascom puts shawl on easy chair} 

Joe. (On porch, brushing his clothes) Well, 
believe me, it's some mess. Huyler's would smell 
like a delicatessen compared to that. I noticed it 
'way down the road and it smelled great too. Is 
that perfume — (He hangs tip brush and comes down 
L. of stand) to put on women's handkerchiefs, or 
is it to eat? 

Mrs. Bascom. (Closes door, then, with startling 
thought) What am I thinkrn'of, I wonder, standin' 
around here — (Goes to Joe, putti-ng her hands on 
his shoulders) You're hungry, aren't you, Joe? 

Joe. Well, a little — Have you and the Kid had 
supper ? 

Mrs. Bascom. Yes, but we can get you somethin' 
in a jiffy. (Crosses to r. c.) 

Joe. Don't go to no trouble. 

Mrs. Bascom. Trouble! (She looks at him 
tenderly and smiles) Why, that's real funny, Joe — 
Trouble. (Goes to c. b.) 

(Betty gets zvhite table cover from drawer of 
center-table, spreads it over the red one on 
table, then starts to set the table. At right of 
table she places Joe's plate, cup and saucer, 
knife and fork.) 

Joe. (Crossing to mother) Can't I help? 

Mrs. Bascom. Land sakes, no — do sit down 
and rest yourself — please do. (Mrs. Bascom stands 
R. of chair that is r. of table, Joe comes to it and 
places one knee on it, and places his hands over his 
mother on the back of chair) 

Joe. I can't understand how you managed to get 
along all this year. How did you do it? 

Mrs. Bascom. Deacon Tillinger gave us all the 
credit we wanted. 

Joe. Tillinger ! 

Mrs. Bascom. Oh, he was awful good, Joe. 



TURN TO THE RIGHT. 49 

Joe. Well, can you beat that ! — But anybody'd 
be good to you, Little Lady. — They couldn't help 
it,— even Tillinger 

Betty. (At back, and l. of table) We've gone 
into debt 

Joe. Don't let that fret you. I'll get even with 
Tillinger first thing I do. 

Betty. (Front of table) Oh, Joe, will you? 

Joe. (Earnestly) You bet I will. 

Betty. Oh, Maw, do you hear that? It's all 
right now — It's all right, Joe'll pay him. Won't you, 
Joe? 

Joe. Certainly I'll pay him. 

Betty. Oh, that's fine. He was goin' to take 
this place and make us get out and move into that 
miserable Jones' house. And now we won't have 
to — Oh, Maw, I'm so happy! (Crosses to her 
mother) He's to bring over all the things for Maw 
to sign to-night. You know — that'll make him own 
the farm — but now you can pay him and Maw won't 
have to sign them. (Mrs. Bascom goes to c. b., 
gets cruet and glass of spoons) I'll run right over 
to the store and tell him. (Crosses towards door 

L. C.) 

Joe. (Stopping her) No, hold on a minute. Kid. 
You needn't do that. — I'd better see him myself 
later on. (Turns R.) 

Mrs. Bascom. (Going to center-table with cruet 
and glass of spoons, puts glass at r. of t.) Oh, 
Betty, do let's give your brother time to turn around 
an' get his breath before we bother him with all our 
worries. 

Joe. How much is it we owe Tillinger? 

Mrs. Bascom. (Back of center-table) We can 
talk about that after you've had your supper. 

Joe. Do we owe him as much as that ? 

(Mrs. Bascom laughs.) 



5c TURN TO THE RIGHT. 

Betty, (l. of table) It's a lot, one hundred and 
twenty-eight dollars and sixty cents. 

Mrs. Bascom. {Anxiously) Is it? Where's his 
bill, Betty? 

Betty. {Goes to stand) But there's three dozen 
jars of jam to come off of that — {Takes hill from 
draiver of stand. Mrs. Bascom goes to c. b. gets 
sugar bowl and a glass and places them on c. t.) 
that's thirty-six times ten — Thirty-six dollars — Oh, 
no! {Her face falls) It's only three dollars and 
sixty cents. That leaves {Looks at bill) just one 
hundred and twenty-five. 

Joe. He was going to take this place on account 
of a piking hundred and twenty-five dollars? 

(Mrs. Bascom and Betty look at each other, in 
admiration of Joe.) 

Mrs. Bascom. {Comes down between table and 
chair) Well, I don't suppose a hundred and twenty- 
five dollars seems much to you 

Joe. Oh, no, it ain't nothin' to me — {Turns R.) 

(Betty puts bill back in drawer. Comes back to 
L. of table.) 

Mrs. Bascom. You see we expected a lot from 
the peach crop this year. It's about the biggest 
we ever had. But now the market's so over-stocked, 
the Deacon can't sell ours at any price, and he has 
always thought this farm was too big for Betty an' 
me. 

Joe. {With determination. Hands on her 
shoulders) Well, you're going to stay right here. 

Mrs. Bascom. It will be lovely for you to pay 
him when he comes to-night. The thought of leavin' 
here has almost broke Betty's heart. 

Betty. {Goes to her) It's almost broke yours 
too, but you wouldn't let on. 



TURN TO THE RIGHT. 51 

Mrs. Bascom. {Hands on her shoulders) Here 
we are, standin' around and lettin' Joe starve to 
death. — 

Betty. {Going into woodshed) I can get his 
supper, Maw. 

Mrs. Bascom. {Follozving her off) We can 
both get it, dear. We can both get it. {Looks back 
at Joe from doonvay) 

Joe. {Stands facing front) A hundred and 
twenty-five dollars! {Puts his hand in pocket and 
pulls out a one dollar bill and some change) One 

hundred and twenty-three, sixty-five shy. {He 

unconsciously feels in vest pocket, suddenly looks 
front, surprised— draws out tivo one dollar' bills.— 
He quickly feels through all other pockets then, 
with sudden comprehension, his face breaks into a 
smile) Muggs ! ( Goes toward u—he notices Bible 
on stand) Well, well we\]~(Gocs over to it and 
picks It up— Looks at it—Shakes Iiis head, smiling.— 
Opens it at the family page and reads — ) Joseph 
Bascom, born April ist. {He closes book, puts it 
back, puts his hands in his pockets and walks about 
the room m thought, turns up stage and goes to win- 
dozcf, looks at lamp and the way the curtains are 
drawn; turns front rvith the thought that the lamp 
was put in the window for him— goes to the pump 
and tries it. His eye catches sight of the clock on 
chnmiey R.—He stops, smiles) Hello, clock'— 
Remember me? {Goes to c. b.) One hundred and 
twenty-five dollars !—(r/7^ porch door opens sud- 
denly and Elsie enters. — Joe turns— they stand look- 
ing at each other for a moment) 

(Elsie Tillinger is an extremely pretty girl of 
about twenty, dressed simply but attractively 
and in excellent taste. She wears a light Spring 
gown but no hat or gloves. She is a decided 
blond. She closes the door before speaking.) 

Elsie. I beg pardon— I— (^Jom* to turn away 



52 TURN TO THE RIGHT. 

when she recognises Joe. — She stands limp and be- 
wildered, gazing at him) 

Joe. Elsie Tillinger! 

Elsie. {Almost hysterically) Joe! 

Joe. Elsie! {She looks at him half bewildered 
a moment, then rushes towards him as if to embrace 
him. Joe meets her in front of the table and not 
noticing her movement, Tvith sudden thought of 
what he is, backs azvay a step, and takes her hand. 
Shaking hands) How do you do, — Miss Elsie? — 

Elsie. {Her expression changing) Miss Elsie ! 

Joe. {With embarrassed laugh) Well, I thought 
I ought to say that now, — I almost said Miss 
Tillinger. {She is still looking at him — a little 
pause — ) You see — we're grown up now and I — 
I'm — Oh, I'm so glad to see you I don't know what 
I'm talking about — yes — {Laughs) I beg your 
pardon, won't you sit down — {Places chair r. of t.) 

Elsie. {As she sits) I'm just beginning to get 
my breath back. I can't seem to realize that you're 
here. — Did anyone know you were coming? 

Joe. Yes, I did. — 

Elsie. {Laughing) But no one else — not your 
mother or Betty ? 

Joe. No, I surprised them ! 

Elsie. How happy they must be. — Oh, Joe, it's 
been the longest time since they've heard from you — 

Joe. {Serious) It has seemed like a lifetime to 
me. {Lighter) But I'm back now — {Looks about) 
and everythin' here looks just the same — as if I 
hadn't been away at all. Why when I came by the 
well out there it looked so familiar I bowed to it. 
{She looks away) That's where you stood, Elsie, 
the last time I saw you 

Elsie. {Face turned away) Yes 

Joe. I remember the dress you had on— {She 
looks at him) it wasn't as long as this one — {Laughs) 
but you look now as I imagined you would — only a 
]ot more so. 



TURN TO THE RIGHT. 53 

Elsie. (After a little laugh) And you've never 

once written to me in all that time 

Joe. I couldn't, Elsie — I — {He walks away from 
her, upstage; then back to her, speaks with light tone 
again ) The last I heard of you you were away at 
school. 

Elsie. How did you know? 
Joe. Mother used to write me — every letter had 
something about you. 

Elsie. And I used to get her to read me your 
letters before they stopped coming. {He looks at 
her) And then I'd always hear of the splendid way 
you were getting on. 
Joe. (Bitterly) Yes? 

Elsie How you went to church so regularly — 
■what a fine man the minister was — and your friends 
■were all such good religious people. 

Joe. (Shaking head sadly) And she'd believe 
them ? 

Elsie. Yes — and I was glad you wrote them — 
they'd make her so happy. 

Joe. That's a fine way to make her happy ! 
Elsie. (Turning away) It — it was much better 
than to get no letter at all. 

Joe. (Looks at her) Elsie, I never wrote to you 
because — because I was a failure — a miserable, hope- 
less failure! 

Elsie. (Rises, she looks at him sympathetically) 
But, Joe, — you're young! There's plenty of time to 
start over again. 

Joe. (Close to her) You think so? 
Elsie. Of course there is. 

Joe. (Thinks of prison again — his eyes slowly 
falling) I wonder! 

(Betty enters from woodshed, brings bread and 
large pitcher of milk.) 

Betty. Hello. Elsie ! He's back. 



54 TURN TO THE RIGHT. 

Elsie. (Smiling) So he's told me. (Betty ^oer 
back of center-table with bread and milk) I don't 
suppose your mother's happy ? 

Betty. (Laughing) Almost out of her mind. 
(Puts milk and bread on table c. Elsie starts for 
porch door) Oh, don't go, Elsie. 

Elsie. This is no time for callers. (Turns at 
door) I only ran in to ask you to stop by for me 
on your way to meeting, but probably you're not 
going now. 

Betty. Oh, yes, we are, and Jessie's comin' over. 

Elsie. Then why don't you two stop for me? 

Betty. (Puts pitcher and bread on table at 
windozv) All right! 

Elsie. I'm awfully glad you're back, Joe, 
(Opens door) Remember what I said! 

Joe. I'm thinkin' of it now. 

Elsie. (Leaning against door) Perhaps you'll 
come to meeting? 

Joe. Perhaps, — I need it. 

Elsie. No doubt ! (She laughs as Joe looks at 
her, and exits) 

(Joe goes quickly up to window and looks after her.) 

Betty. (Preparing table moves Joe's plate to c.) 
The fellow Elsie's goin' to marry was here to-day — 
(Joe turns quickly, and comes doom r. c. Betty, 
still busy) and Deacon Tillinger introduced me to 
him. He's a New Yorker and in society, and his 
father's a millionaire! (Joe is staring front) I 
think the Deacon expected to give them this place 
when they're married. But he can't now. (Betty 
goes toward Joe, trying hard to think of something 
to say) Your supper'll be ready before long — 
(Crosses to door r.) Are you starvin'? 

Joe. No — no — don't hurry. 

Betty. (At woodshed door, turns to him) It's 
awful funny, you're my brother and somehow I 
don't feel acquainted with you at alL 



TURN TO THE RIGHT. 55 

Joe. Well, we'll get used to each other in time. 
f(Kisses her) 

Betty. I — I must go back an' help Maw. {Exit 
io woodshed) 

l(JoE stands in thought. A knock on porch door. 
Joe goes to door, opens it. Muggs and Gilly 
stand outside.) 

Joe. {In startled voice) You twol 

Muggs. (As they enter) Well, I'll be 

Gilly. (Closes door is r. of Muggs) Pete! 
Joe. Sshl (Looks r., continues in lozv tone; 

is R. of Gilly) What the devil do you fellows 

mean by following me? 

(Muggs and Gilly stop short.) 

Muggs. We didn't follie yer. 

Joe. Don't try to kid me. 

Gilly, No — on the level, we didn't. 

Muggs. We hops a freight for the big town — 
gits in an empty an' what do they do but switch us 
ofif on a siding over there and leave us flat. It's 
dark an' we're broke an' starvin' — so we quits the 
empty to look for a hand-out 

Joe. (Not believing it) Too bad, boys, but 
I'm afraid you'll have to take a sneak. (Crosses 
to door R. and listens) 

Muggs. (Muggs and Gilly come dozvn l. c.) 
Oh, this is where the dame is. 

Gilly. Sure. (Gilly and Muggs look at each 
other) 

MuGcs. What d'you think of that. A rube 
dame! Come on, Gilly. (Start for porch door) 

Joe. I'm soriy, boys. (Comes to them back of 
table) 

Gilly. (Hesitating a moment) Was it all 
right, Pete? She hadn't forgot yer? 



56 TURN TO THE RIGHT. 

Joe. (Shaking head impatiently) No. 
GiLLY. (Shaking Joe's hand) We didn't mean 
to butt in — on the level we didn't 

(Mrs. Bascom enters from the woodshed, with disk 
of lettuce.) 

Mrs. Bascom, (As she enters, comes r. of table) 
Joey, do you like — (Sees Mugcs and Gilly) Oh! 
(Pause) 

(MuGGS and Gilly take off hats.) 

Joe. Little Lady, these are a couple of pals of 
mine — business acquaintances — this is Mug — M — 
Mr. McCarthy — (Indicating Muggs) and this is 
Mr. — Gilbert. Fellows, this is my mother. 

(The boys stand astonished.) 

Mrs. Bascom. Well — well — well. (Puts dish 
of lettuce on table and going to them l. of table, 
smiling) I'm real glad to see you, Mr. Gilbert. 
(She shakes hands with Gilly. Joe comes down r. 
of table) 

Gilly. (Much embarrassed) Thank you. 
Ma'am. 

Mrs. Bascom. And you too, Mr. McCarthy. 
(Shakes hands with him, then crosses to parlor door. 
Muggs bows and smiles — follows her with his eyes) 
Won't you both step right into the parlor ! 

Muggs. Oh, no, ma'am, no. We — we got to be 
gettin' on. 

Gilly. We're in a sort of a hurry. (Starts for 
door) 

Mrs. Bascom. (Surprised) Oh, ain't that too 
bad! (Crosses to Joe at r. of table) Joey, dear 
I hope they ain't goin' because they're afraid they 
took me by surprise. (Comes back to Muggs and 



TURN TO THE RIGHT. 57 

Gilly) Joe didn't tell me you was comin' but he 
has only just got here himself, an' I hain't given him 
a chance to tell me much of anythin' yet. 

Gilly. Well, you see he didn't know we was 
comin'. 

Mrs. Bascom. Oh! 

MuGGS. No, ma'am, we blows in — unexpected. 

Mrs. Bascom. Surprised him. 

Gilly. Yes'm. 

Mrs. Bascom. (Goes to Joe r. of table) Well 
ain't that nice! (Turns to Gilly and Muggs) 
Can't you stay to supper? 

(Joe goes up back of table. Muggs and Gilly look 
at each other.) 

Muggs. Supper ! 

Mrs. Bascom. Joe's just goin' to have his. I 
got plenty — can't you? (She looks smilingly at 
Muggs atid Gilly. Muggs smacks his lips) 

Gilly. (Glancing at Joe) Well, we're much 
obliged, ma'am, but we am't exactly — er — hungry. 

(Muggs and Gilly start for door.) 

Joe. (Watching them and relenting) I guess 
you better stay. You can spare that much time. 

Mrs. Bascom. Oh, do, that'll be lovely, an' then 
Joe won't have to eat alone. 

(Gilly and Muggs look anxiously at Joe.) 

Joe. (Signaling that it's all right) Come on — 
stay! 

Muggs. Why, sure, if he's got to eat alone— we'll 
keep him company — won't we Gil— Mr. Gilbert? 

Gilly. (Looks at Muggs, then at Mrs. Bascom) 
I — I don't mind. 

Mrs. Bascom. (Placing chair r. of table) That's 



58 TURN TO THE RIGHT. 

real good of you. Just set right down. I won't be 
no time. {She exits into woodshed) 

(MuGGS and Gilly stand motionless a moment, Joe 
watching them.) 

MuGGS. {Looks after Mrs. Bascom) Your 
mother — {Looks front) And we thought it was a 
dame! Say — {He looks about the kitchen) Can't 
we clean up a little ? 

Joe. Sure — {Pumps basin of water at sink. 
MuGGS hangs his hat on rack at door, Gilly puts his 
on easy chair, they start for sink, and stop half way 
as Joe is pumping the water) Help yourselves. 

(MuGGS and Gilly go quickly for basin, and wash 
at the same time. Gilly crosses in front of 
table and is R. of Muggs at the sink. Joe gets 
towel from cupboard; they each use an end of 
it, during which following is spoken.) 

Joe. Fellows, I'd rather drop dead than to have 
my mother find out about me, and your being here 
scares me to death. 

Muggs. {Crossing to him) Listen, Pete 

Joe. {Handing towel) Nix on that " Pete." 
My name's Joe, Joe Bascom — and I'm in business. 
{Crosses, takes chair by window and places it L. 
of table) 

Gilly. What business ? 

(Gilly and Muggs are both wiping on the same 
towel. Gilly starts towards Joe with his end 
of towel. Muggs pulls him back.) 

Joe. I dunno — just business. Don't try to make 
it one thing or another. You live in New York — 
but don't give any address, see? 



TURN TO THE RIGHT. 59 

(GiLLY throzvs towel in sink, then realising zvhat 
he has done, takes it and hangs it on the towel 
rack by the zvindow.) 

MuGGS. (Crossing to Joe) We got yen We got 
yer. Don't think we're goin' to get you in wrong. 
Why, I'd rather cut me throat than have — her — get 
wise. 

GiLLY. Me, too. Perhaps we'd better sneak now. 
Joe. No, wait for the chuck— but for God's sake 
be earful. 

MuGGS. (Seeing kettle of preserves at windozv, 
leans over table and smells it. To Gilly) That's 
\i— (Again leans over and sniffs it) that's the stuff 
that brought us here. 

Gilly. (Goes to kettle) That's what it is— We 
smells it 'way up the road and we follows the scent 
right to this door. (Crosses at back and down to 
easy chair l. Gets hat) 

MuGGS. (Indicating off r.) She made it, didn't 
she? 
Joe. Sure ! 

MuGGS. (Looking front and smiling) Somehow 
you'd know it was her. 

Gilly. (Looking front thoughtfully]) The way 
she smiles at us— that's what I keeps 'thinkin' of— 
(Holding out his hand as he remembered Mrs. 

Bascom had done) " I'm real glad to see you, Mr. " 

Say ! What's me name ? 

Joe. (After a moment's thought) Gilbert — Mr. 
Gilbert. 

Gilly. Yes, Gilbert— Have I got a first name? 
Joe. What's your own first name ? 
Gilly. When I was a kid they called me Dudley. 
MuGGS. Mine was Lucius. 

Joe. (Smiling) Well, Dudley Gilbert and Luc- 
ius McCarthy. 

Mrs. Bascom. (Off r.) All ready, boys. (A 
pause) 



6o TURN TO THE RIGHT. 

GiLLY. Some voice. 

MuGGS. " Boys." 

Joe. Sit down, fellows. (Muggs goes to chair 
R. of table, Joe above table, and Gilly puts hat in 
easy chair, then goes L. of table. Betty enters with 
dish of potatoes. As she holds the shed door open 
the sound of chicken frying outside is heard. Gilly 
about to sit, stops and looks at her admiringly. 
Muggs sits, his back to her. Betty stops at door) 
Fellows this is the kid sister, Mr. Gilbert. 

Gilly. {Recalling what Mrs. Bascom said, and 
with hand extended) " I'm real glad to see you." 

Betty. Pleased to meet you, I'm sure. {Puts 
potatoes on c. b.) 

Joe. {Mvggs looks at ]o-e,, then rises) Oh! And 
Mr. McCarthy 

Betty. Pleased to meet you, I'm sure. {She 
takes plates, knives, forks, etc., from cupboard, for 
Muggs and Gilly. 

Muggs. So am I. {Offering her his seat) You 
take this chair. 

Betty. Oh, no, thank you. Maw an' me have 
had supper. {Places plate for Muggs, then crosses 
and does same for Gilly. Gets the dish of potatoes 
from cupboard and crosses to l. of Joe) 

(Mrs. Bascom enters with platter of broiled 
chicken.) 

Mrs. Bascom. {Goes to r. of Joe) Sit right 
down, boys — Land sakes, I'm calling you " boys." 

(Muggs and Gilly sit.) 

Joe. That's all right, mother. They don't mind. 

Gilly. Oh, no, ma'am. 

Muggs. {Looking at Betty) We — we — like it. 

(Betty stands above table on Joe's l., holding dish 



TURN TO THE RIGHT. 61 

<of potatoes. Mrs. Bascom on Joe's r., Joe 
■Starts to take dish of chicken from his mother.) 

Mrs. Bascom. (Still holding the platter) You 
ain't asked the blessing, Joey, dear. 
Joe. Oh! 

(Mrs. Bascom and Betty close their eyes, Joe 
glances at Muggs and Gilly, then bozus his 
head. They look at him surprised. He secretly 
motions them to do the same. They bow their 
heads. Joe numbles a blessing that ends zvith 
an audible "Amen." Gilly still keeps head 
bozvcd. They look at him and Muggs, reach- 
ing under table, kicks him. Gilly quickly 
straightens up. On "Amen" Betty comes 
round to Muggs and helps him to potatoes, 
then turns back to GrLLY and does the same. 
Then helps JoE to potatoes. Joe helps them to 
chicken. Mrs. Bascom gets large pitcher of 
milk and glass from table at window.) 

Mrs. Bascom. (To Muggs) Wouldn't you boys 
Kike a nice glass of milk ? 

Muggs. Well, I ain't never used it much. 

Mrs. Bascom. (Filling glass and offering it to 
him) Well, you try that. 

Muggs. (Muggs does so gingerly looking at 
G11.1.Y in surprise) Gee, that's bully ! (Looking at 
Mrs. Bascom) Ain't there nothin' in it but milk? 

Mrs. Bascom. Phoebe gives real good milk. 

Muggs. Phoebe? 

Mrs. Bascom. Yes, she's a Jersey. (Muggs 
drinks) Pass Mr. McCarthy the bread, Betty. 
(Takes glass from table at zvindow and then goes to 
Gilly) You'll have a glass of milk, Mr. Gilbert ? 

(Betty goes to cupboard and gels jar of jam.) 

Gilly. Have you got plenty? 



62 TURN TO THE RIGHT. 

Mrs. Bascom. Land sakes, yes. (Filling e/Iass 
for GiLLY, then puts pitcher on table at zvindow^ 
empties and hangs up wash basin) 

Betty. {Coynes above Muggs — shyly to him) 
Will you try some of Maw's preserves? {Offerings 
him jar, after taking out the spoon, zvliich she later 
hands to Gilly as she crosses to l. c.) 

MuGGS'. (Takes preserves and gets spoon from 
holder) Is that what we smelled? (PtUs a spoon- 
ful on plate) 

Betty. I guess so. Maw's been cookin' ft to-day. 

Muggs. (Tasting it) Say, that's too good to eat. 
It ought to be set in a pin. 

(Betty laughs, crosses to h. c. Git.LY reaches over 
and takes jar of jam and helps himself liberally 
with spoon Betty hands him.) 

Mrs. Bascom. (r. of Joe) Have you got every- 
thing, Joey dear? 

Joe. Everything, Mother (His arm around hery 
and it's bully too. I've been thinkin' I might get 
ihy friends to change their minds and stay overnight. 

Mrs. Bascom. (r. of Joe) Won't that be lovely t 
(To MuGGS and Gilly) I do wish you would. 

Joe. Have you got a place for them ? 

Mrs. Bascom. Why, yes, Uncle George's room, 
— if they don't mind sleeping together. 

(Gilly and Muggs look at each other.) 

Muggs. Oh, no, mum. We don't mind. 

Mrs. Bascom. It's a nice wide bed — Uncle 
George died in it. (Arranges cloths on hanger) 

Muggs. Well, Uncle George'll have nothin' on 
me. 

Mrs. Bascom. (Goes to hat-rack) Now the 
boys'll want to talk, Betty, an' we must get ready for 
meetin*. 



TORN TO THE RIGHT. 63 

(Betty starts for door l.) 

MuGGS. (Ris£S, GiLLY docs the same, but does 
'not turn around) Good-even', Miss Bascom — and 
- — thank you 

Betty. {Smiling at him) You're welcome, I'm 
sure. (She exits door l., upstairs) 

{MuGGS sits again at fable, Gilly does the same. 
Mrs. Bascom gets hat and wrap from hat-rack, 
and shaivl from easy chair, is about to follow 
Betty out but stops atid comes back to Joe.) 

Mrs. Bascom. (l. of Joe) Joey, dear, can't you 
come to meetin' with us? It would be so nice on 
your first night home. 

Joe. Why, of course. 

Mrs. Bascom. Perhaps you boys would like to 
come too? 

Gilly. Where is it at, — in a church? 

Mrs. Bascom. No, it's in the Chapel. 

Gilly. Oh \ 

Muggs. We'll take a chance if you want us to — 
won't we — Gilbert? 

Gilly. Sure. 

Mrs. Bascom. Oh, that's lovely. {Goes to doer 
L.) Now, call me, Joey, if you want anythin'. 

Joe. All right, mother. 

(Mrs. Bascom titrns and looks at them with a happy 
smile, she exits d. l.) 

Muggs. I've had some swell dreams in my life — 
but nothin' like this! {They all eat thotightfully) 
What about havin' us guys in de church, kid ? 

Joe. It's all right. I guess. It would make an 
awful hit with her. What do you think, Gilly? 

Gilly. Go to church ? — Why I'd go to hell for 
that old lady — she — she — No wonder you was 



64 TURN TO THE RIGHT. 

worryin' all last year. I never seen no one like Rer, 

MuGGS. (Deep in thought, looking front) Betty? 
(Joe and Gilly look at him. Muggs, suddenly 
" coming to ") Betty — that's the sister's first name^ 
ain't It kid ? 

Joe, Yes, that's it. 

MtTGGS. I was tryin' to remember it. {Eats'} 
Suppose the gang could see us now — wid our milk 
an' jam. 

Gilly. I didn't know there was such chuck in the 
world. 

MuGGS. Us lookin' fer a bum hand-out and fall- 
in' up against this Tiffany food. 

Gilly. And how can everything be so clean? 
{About to drink from glass when he notices it is 
empty. Rises, goes and fills glass from pitcher on 
table at zvindo7v') 

Joe. It's quite a farm. Got a big peach orchard 
on it — Finest fruit in the State. {Gilly sits again, 
h. of table) 

MuGG. And you're goin' to stay here an' run it? 

Joe. I was — but I don't know now. My mother 
and the kid was figurin' they'd got to get out just 
before I come. (Muggs and Gilly look at each 
other) I got to dig up some coin somewhere, right 
away. 

Muggs. What's the matter? 

Joe. Well, my mother owes a bill to the village 
Shylock, see ? And before I am wise as to how she 
stands I make her think I'm loaded down with coin 
and can settle everything up for her. Then I find 
out this guy has got it all framed to take this farm— 
I don't know exactly how, but I know him, and it's 
a pipe he's doped out some way he can do it by law. 

Gilly. How much you got to get ? 

Joe. The bill my mother thinks I'm goin' to pay 
to-night is a hundred and a quarter. 

Muggs. {Rising quickly, gets hat from hat-rack) 
When's the next train for the Bronx? 



TURN TO THE RIGHT. 65 

Joe. No, nothin' doin', Muggs. 
MuGGS. (Comes back r. of table) You needn't 
be in on this at all. Gilly an' me'll have a roll for 
you as soon as we can get there an' back. 

Gilly. (Rising) Sure. I'd commit murder for 
that old lady. 

Joe. Sit down. Sit down both of you. (Mtiggs 
and Gilly sit) I know you'd both go through for 
me but I wouldn't let you. I'm goin' to talk with this 
guy first an' see if I can work it out some way. It's 
no cinch goin' to him because we love each other like 
a couple of rattlesnakes. I ran away from home on 
his account. 

Muggs. How was that? 

Joe. (Hesitating) Well I— I used to like his 
daughter. (Looking front) Now I've got to go 
to her old man an' beg for mercy. 

Muggs. But if he turns you down and you can't 
give him that hundred an' twenty-five bucks to-night, 
your mother will get wise that you are four-flushing, 
won't she? 

Joe. That's what I'm afraid of. 

Gilly. (suddenly) Is there anybody in this 
town got a hundred and twenty-five ? 

Joe. Only this guy we owe it to — he's got a bar- 
rel of it. 

Gilly. Where does he keep his barrel ? 

MuoGS. Say, listen here, Joe I could take it out 
of his shoe and he'd never feel it. 

Gilly. Aw, what'er you talkin' about — them 
rubes don't never carry a roll — they bury it. 

Joe. I wouldn't stand for anything like that— and 
if I would you could never get near any of Till- 
inger's coin. 

MuGGS. If he keeps any of it in this town, Gilly 
could— (Indicating Gilly) Why that guy taught 
Houdini all he knows. 

Gilly. Tillinger, is that his moniker ? 

Joe. Yes, Deacon Tillinger. 



66 TURN TO THE RIGHT. 

MuGGS. What is he — a farmer ? 

Joe. No, — he's got a big store — groceries — 
(GiLLY looks front) and most everythin' else. 
(Rises, gets hat from hat-rack) I've got to go an' 
see him now and try to keep him away from here. 
I'd better go and tell my mother I'm going out for a 
walk. I'll be back in a few minutes. {Exits out 
door L.) 

MuGGS. {rising) We got to help the kid out 
some way, Gilly. 

GiLLY. How yer goin' to help him if he won't 
stand fer it? 

MuGGS. Dig up a roll an' tell him we borrowed 
it. 

Gilly. (Rising) We might take a look at this 
guy Tillinger's dump. 

(Betty enters from tipsfairs door L. She has 
changed her dress and now wears a very simple 
street costume, her best.) 

Betty. Excuse me, but I saw a friend of mine 
comin'. (She goes up to door of porch. Muggs 
crosses to l. She opens door) Come in, Jessie. 

Jessie. (Outside) Hello, Betty. Elsie just told 
me your brother was back. My — it must have been 
a — (She enters, sees Muggs and Gilly. Betty is 
very important and self conscious) 

Betty. This is Miss Strong, Mr. McCarthy. 

Muggs. (Bowing) Tickled to death. 

(Jessie comes down l. c. hows, then looks at Gilly.) 

Betty, (l. of Jessie) And Mr. — Mr. — I'm 
awfully sorry but I've forgotten your name. 

Gilly. Why my name is — tell her what it is, 
•will yer? 

Muggs. (Trying to think) Sure, I'll tell her what 
yer name is. It's — Oh — tell her yourself. You ain't 
afraid to tell her your name, are you? 



TURN TO THE RIGHT. 67 

Betty. Oh, yes, I remember — Mr. Gilbert. 

GiLLY. That's it — Gilbert. 

MuGGS. You see I just made him a bet you 
wouldn't remember it, so we didn't want to tell you 
till you'd had a chance to think. 

Betty. Mr. Gilbert— Miss Strong. (She puts 
cruet and sugar bozvl on c. B. and gets dish pan 
and starts clearing the table, picking up the dishes, 
putting them into the pan. Leaves a cup and saucer 
for Gilly) 

Jessie. How do you do? 

Gilly. He — he ! 

Betty. Friends of Joe's from New York. 

Jessie. (Going l.) Indeed. 

Gilly. Yes, just passing through. 

MuGGS. (Goes to Betty back of table) Let me 
help you with them things. 

Betty. Oh, no, thank you, don't trouble yourself. 

MuGGS. (Helps Betty clear the table) Oh, 
please. No trouble at all. 

Jessie. Did you and Mr. McCarthy come with 
Mr. Bascom? 

Gilly. (Crosses to Jessie) Not with him ex- 
actly — sort of after him. 

Jessie. Haven't you been here before? 

Gilly. No, Ma'am, not before this. 

Jessie. What do you think about our village ? 

Gilly. Why 

MuGGS. (Helping Gilly out) It's aces. We're 
thinkin' of wrappin' it up an' takin' it back to New 
York with us. (Puts dish pan in sink, then he and 
Betty finish clearing the table, putting bread, 
chicken, etc., on table at window, then goes l. of 
c. T.) 

(The girls laugh politely.) 

Jessie. (Going to table at c.) Can't I help? 
Gilly. Lets me an' you carry over this cup. 



68 TURN TO THE RIGHT. 

(They take cup up to table at window) 

Betty, (Taking off white table cloth, goes to 
doer, shakes it and folds it, then puts it in dratver 
of table) Oh, Jessie, Elsie Tillinger wants us to 
stop by for her. 

(Jessie crosses to c. b.) 

MuGGS. That's the name of the man that owns 
the grocery store, ain't it ? 

(GiLLY, on hearing the grocery store mentioned, 
becomes interested and comes r. of table.) 

Jessie. Yes. 

MuGGS. (Looks at Gilly significantly, is L. of 
table) You see — me and Mr. Gilbert are thinkin' 
about openin' a grocery store ourselves. 

Jessie. Are you? 

GiLLY. (Smiling at Jessie) Oh, yes. 

Jessie. Tillinger's a big store — that is for such 
a little place. 

MuGGS. I'd like to see it sometime, to see how 
business is around here. 

Jessie. (Going to windozv) You could find 
Deacon Tillinger there now if you wanted to see 
him — the light's still on in the store. 

(Gilly goes up r. of Jessie to windozv. Muggs 
goes up L. of table to window. Betty has put 
white cloth in drawer, takes vase of flozvers 
from shelf on wall L. and places it on center- 
table.) 

GiLLY. (r.o/ Jessie) Which light? 

Jessie. The big one, just between those two little 
ones. 

Betty. (In front of table) It's an old store — 
but it's a real nice one. 



TURN TO THE RIGHT. 69 

GiLLY. {Coming R. c.) How does it look inside? 

Betty. Well, in the front part they've got 
counters on eacli side and down the center. One 
side is all groceries and the other side is drygoods, 
and in the middle is 

MuGGS. {Standing r. of Betty) Barrels of 
flour, molasses and potatoes. 

Betty. Oh, no — they keep all the barrels in the 
cellar. 

GiLLY. {Standing r. of Muggs) How do they 
get 'em in there? 

Betty. Why, they let them down the cellar steps. 

Muggs. {To Betty) Oh, they got cellar steps? 
Don't they interfere with the show windows ? 

Betty. Why the cellar steps ain't in the front 
of the store — they're around in the back, under the 
office. 

Muggs. Oh, I see. {To Gilly) The office is in 
the back of the store. CGilly smiles at Jessie. 
To Betty) We was P'oin' to have nnr office in the 
front. (To Gtlly) I'm always fllin' you the back 
of the store is the best place for an office. 

Gtlly. Well, ver can't eet such good lisrht there. 

Jessie. (Standinq \i. of Gtlly) There's plenty 
of light in Deacon Tillinger's office. There's a big 
window right by the desk. 

Gilly. By his desk ? 

Jessie. No, the book-keeper's desk. The 
Deacon's desk is over in the other corner near the 
safe. 

Muggs. (To Gilly) Of course, that's the place 
for it — right by the safe. {To Jessie) The store's 
been here for some time, eh ? 

Jessie. Oh, yes, the Deacon's father had it be- 
fore he did. 

Muggs. {Crossing to front of table) I like old 
stores and old desks and old safes. 

Betty. {Going up to zvindozv) Look! They've 
closed up, the light's just gone out. 



7Q TURN TO THE RIGHT. 

(GiLLY smiles at Jessie and goes towards Muggs. 
MuGGS and Gilly look at each other.) 

Muggs. Ain't it time you was takin' your ex- 
ercise, Mr. Gilbert? 

Gilly. ( Crossing, fakes hat from easy chair, then 
goes tip to D. of porch) Sure. I think I'll go out 
and take a little walk. 

Muggs. (Crossing to c. b.) Mr. Gilbert's doctor 
always makes him take a walk after eatin'. 

Jessie. (Crossing to front of table) Good-night, 
Mr. Gilbert. 

Gilly. ( Opens door) Good-night ! 

Betty. (Back of table) You're comm* back, 
aren't you? 

Gilly. (To Betty) Oh, yes. (To Jessie) It 
won't take me long. (Exits to porch) 

Betty. (To Jessie) Oh, Deacon Tillinger said 
he was comin' over here on business. 

Jessie. (Going up to porch door) Oh, dear, 
then we'd better go over to Elsie's. 

Betty. (Rather hurriedly) Yes, let's. Won't 
you come along, Mr. McCarthy? 

Muggs. How far is it? 

Betty. Just down the road a piece. 

Muggs. Well, I'll walk down with yer but I can't 
go in. I got some business with — with Mr. Bascom. 

Jessie. (Has opened door and is standing on 
porch) Come along. (Exits) 

(Betty goes to door. Muggs starts to go out door, 
then steps back and bows to Betty.) 

Muggs. After you. 

Betty. (Smiling at him) Thank you. (She 
exits) 

(Muggs delighted at her smile, glances around front 
a moment, then puts hat jauntily on one side 



■ TURN TO THE RIGHT. 71 

0/ his head, arranges coat and tie, and exits, 
closing door. Joe enters from l.) 

Joe. Betty! (He goes to woodshed door and 
looks in, then goes to window and looks out. 
Evidently sees someone coming. Comes down r. of 
table c, puts hat on table) Tillinger — {Turns to- 
ward porch door. Puts hands in pockets and stands 
waiting determined. Pause. The door opens and 
Tillinger enters. He stops and looks at Joe m 
great surprise. His face falls, his manner changes) 
Tillinger. {After eyeing Joe sharply) You're 
back, are you ? 

Joe. {With attempt to.be pleasant) Yes, sir — 
won't you sit down, Mr. Tillinger. 

Tillinger. {Without moving) I'm here to see 
your mother. 

Joe. But I'd like to talk to you first, please. 
Tillinger. They ain't nothin' I want to say to 
you. 

Joe. I suppose not — ^but I know what you've 
come for and my mother wants me to attend to it 
for her. 
Tillinger. Oh! 

Joe. She's told me how good you've been to her 
Mr. Tillinger. ' 

Tillinger. {More tolerantly) She has, eh? 
Joe. Oh, yes. I was just going over to see you — 
but you got here first. Won't you sit down, Mr. 
Tdlinger? (After another look at Joe he goes 
and sits slowly at l. of table) 

Tillinger. {Pauses and eyes Joe shrewdly) 
Then you understand our agreement, do you ? 

Joe. {Very pleasantly) Well, I'd like to hear it 
from you— to make sure I got it straight. (Joe 
smiles at him) 

Tillinger. This farm's too much for her — needs 
a lot of tending to — and money to keep it going, an' 
she's been gettin' further an' further behind right 



72 TURN TO THE RIGHT. 

along. I've worried about her quite a bit. Now 
she can manage first rate in a small place — what 
with doing odd jobs around an' finding a place for 
Betty to work — an' perhaps you helpin' out again 
like you used to. 

Joe. I see, 

TiLLiNGER. Well, I'm givin' your Maw the Jones, 
place and five hundred dollars for her equity — 
that's the agreement — [Rises, glances at Joe, who 
is still smilinff, then takes large envelope from inside 
pocket, removes rubber band and takes out papers 
one at a time, speaking as he does so) Here's a 
receipt to date for your Maw's bill. Here's my 
cheque to make up the five hundred, and here's a 
deed to the Jones property, all free and clear, and 
this is the deed for your Maw to sign. (Hands the 
deed to Joe, picks up the other papers and puts 
them in his envelope, leaving the receipt on the 
table) 

Joe. Mr. Tillinger, we'd rather hold onto this 
place a while longer. 

TiLLTNGER. What? (Takes deed from Joe. 
Joe still smiles at him) It's too late for that now. 

Joe. Why is it too late? 

Tillinger. (Hard mean tone) Because the 
bargain's all been made and agreed to and only this 
afternoon T arranged to turn this place over to — 
to a party from New York. 

Joe. (Struggling to be pleasant) But how could 
you do that ? My mother hasn't signed anything yet, 
has she? 

Tillinger. Oh, so that's it— you think you can 
hold me up? 

Joe. Not at all— T 

Tillinger. Well, you'll find you can't — The 
terms has all been settled and your mother's took 
one hundred and twenty-five dollars to bind the 
bargain. 

Joe. What! Oh, you mean your bill? 



TURN TO THE RIGHT. 73 

TiLLiNGER. Yes, I charged it off and here's the 
receipt. 

Joe. Suppose I pay it ? (Putting hand in pocket) 

TiLLiNGER. (Eyeing him) Can yer pay it? 

Joe. I say suppose — (Laughing) 

TiLLiNGER. No supposin' about it. I say. can 
yer? I know yer can't. Then there's the taxes 
past due and the interest — over six hundred dollars 
it amounts to. 

Joe. We got the peach crop. 

TiLLiNGER. You try to sell it. Peaches ain't 
worth counterfeit money this year. 

Joe. (Trying desperately to keep his temper) 
But listen, Mr. Tillinger — you made this bargain 
to do my mother a favor, because she and Betty 
were alone here — I'm back now and I want to stay 
and look out for them and try my hand at running 
the place. 

Tillinger. You run it ! I know you — you can't 
run nothin' — an' your Maw'd be a good sight better 
ofif without you than with you. 

Joe. Perhaps that ain't a bad guess, but just the 
same I am goin' to try it. 

Tillinger. No you ain't — ^this farm is mine and 
I don't want to multiply words with you. 

Joe. (Going close to him) Well, get this any- 
how — you're a dirty crook (Muggs enters from 
porch door) and you're tryin' to rob my mother of 
this farm. But you ain't never goin' to get away 
with it — I'll see you in hell first. 

(Tillinger backs away from Joe to L. of table.) 

Tillinger. You young 

(Muggs closes door loudly.) 

Joe. Come in, Mr. McCarthy. (Mltggs comes 
down L. c. Joe sudden thought) Were you able 



74 TURN TO THE RIGHT. 

to see the peaches in the moonlight? (Signals to 

MUGGS) 

MuGGS. {Surprised, looks front then back at 
Joe) Sure. 

Joe. Ever see anything like 'em? 

MuGGS. (Looking from Tillinger to Joe) 
They're aces, kid — they're aces. 

Joe. Well, my offer goes — you can have the whole 
crop on the trees, just as they are now, for eight 
hundred dollars. 

MuGGS. (Looks front, then back to Joe) Eight 
hundred ? 

Joe. Eight hundred. 

MuGGS. (Thinks) You're on! 

Joe. Can you give me a check in the morning? 

MuGGS. Sure ! Give it to you any time. 

(GiLLY enters porch door, comes down l. c. to 

MuGGs and shows him the roll he has taken 

from Tillinger's safe. Muggs motions him 

to go around back and give it to Joe. Joe is r. 

of table c, Tillinger l. and Muggs l. c.) 

Tillinger. If you're sayin' this fer me, I'll tell 

you it don't fool me at all. I made this bargain fair 

an' square and this receipt binds it — and if you 

think you can fight me — you'll find your answer in 

court. 

GiLLY. (Holding out hand to Joe) How are 
you, Mr. Bascom ? Glad to see you again. 

Joe. How'd do, Mr. Gilbert? Your partner has 
just — (GiLLY shakes hands effusively ivith Joe. Joe 
stops speaking, gives a look of great surprise as they 
shake hands. Gilly has given him the one hundred 
and twenty-five dollars) Won't you sit down, Mr. 
Gilbert? 

Gilly. Sure! (Sits r. of table) 

(Joe turns doivn r. and counts roll of bills Gilly has 
left in his hands then suddenly looks front. 
Gilly looks at Tillinger and smiles.) 



TURN TO THE RIGHT. 75 

TiLLiNGER. Ugh ! {He starts tozvard porch door 
angrily) 

Joe. {Goes to c. of table) Wait a minute. I 
want these gentlemen for witnesses. This man is 
tryin' to rob my mother of her farm an' he is 
goin' to try a flim-flam about some money she owes 
him to do it. {He takes the receipt from the table) 
He has just presented this bill and I want you fellows 
to be able to testify that I offered to pay it. {He 
takes out roll of bills zvhich he puts in his pocket, 
counts them — tzvo fifties, a tzventy and a five. Puts 
roll on table and picks tip receipt) I've got the 
receipt and there's your money. 

(TiLLiNGER looks at moticy in great surprise, turns 
as if to go out — thinks — changes his mind, 
comes back to table, picks tip money, counts it — 
puts it in his vest pocket. Backing up to d.) 

MuGGS. (Going up to him) Now you blow — 
see! 

(The church bell begins ringing and continues until 
end of act.) 

TiLLiNGET?. What's that? 

MuGGS. Blow ! Get out o' here, or I'll bust you 
in the snoot. 

TiLLiNGER. Don't you talk to me like that, I'll 
have the law on you. 

MuGGS. Mr. Gilbert, will you kindly open the 
door. 

(GiLLY crosses below Muggs and Tillinger and 
opens porch door. Muggs suddenly grabs 
Tillinger and pushes him out. Muggs goes 
out zvith him, is heard throxving him off the 
porch, both talking ad. lib. The church bell he- 
porch, both talking ad lib. Gilly closes door.) 



76 TURN TO THE RIGHT. 

Joe. (Crossing to Gilly l. c.) Gilly, where did 
you get that roll ? Where did you dig it up ? 

Gilly. That guy's got his own money. I copped 
it out of his safe. 

(MuGGS re-enters, arranging his coat.) 

Joe. Good Lord ! How much did you take ? 

Gilly. There was a big roll there but I only 
took a hundred and twenty-five. 

Joe. (Sitting l. of table) Oh, Lord! They'll 
find it missing in the morning. 

MuGGS. No they won't. After church Gilly can 
put it back just as easy as he got it. 

Joe. What? 

MuGGS. What do you suppose I rough-housed 
him for? Here's your dough, kid. (Shows money 
to Joe then hands roll to Gilly) 

Mrs. Bascom. (Enters l.) Ready boys? 

(Joe rises, goes to front of table. Gilly to l. of t. 
MuGGS back of T. Jessie and Betty enter from 
porch. MuGGS signals Gilly to go with Jessie. 
Jessie and Gilly exit through porch door. 
MuGGS and Betty follow them, smiling and 
chatting. Mrs. Bascom goes to Joe, sees receipt 
on table and takes it up, looks up into Joe's face, 
smiles. Joe, ashamed of the thought of how the 
hill was paid, takes her arm. She nestles close 
to him — they follow the others out. The church 
bell is still ringing.) 

CURTAIN. 



TURN TO THE RIGHT. 77 

ACT n. 

Scene : — The Bascom's back yard. 
Time : — 10 a. m. the following day. 

At R. is the kitchen door of the farm house, 
with a small portico over; above the door is a 
■windoiv; under the window — cellar steps. A 
path supposedly running from the road, is 
shown belozv the house. There is another 
entrance above the house. 

On the L. side the beginning of the peach 
orchard is seen. A number of peach trees 
filled with fruit, arranged as if the orchard ran 
off to the L. 

At c. is an old well, Zi'ith curb around it. 

The back drop shozvs a farming country, with 
the Hudson River in the distance. 

Up R. C, apparently J4 nule from the house, 
is seen a small hill on which stands several 
maple trees. 
At Rise: — The stage is empty. When the curtain 
is well up Mrs. Bascom enters from kitchen 
door, she is evidently looking for something, 
searches along house, by the door sill and dozvn 
cellar steps. Betty enters from above the 
house. She zvatches Mrs. Bascom for a mo- 
ment before Mrs. Bascom is azvare of her 
presence. Finally Mrs. Bascom looks vp and 
discovers Betty. Betty looks at her anxiously; 
Mrs. Bascom smiles reassuringly. 

Betty. (At r. u. e.) You ain't found it, have 
you Maw ? 

Mrs. Bascom. No, not a sign of it. (She looks 
off side of house) 



78 TURN TO THE RIGHT. ' 

Betty. Well, I've looked all along from otir 
porch clear to Deacon Tillinger's front door! {She 
indicates path belozv the house) Hunted on one 
side of the road goin' over, and the other side comin' 
back. 

Mrs. Bascom. {Crosses to l. of well) Well, it 
ain't in the kitchen, that's certain, and the Deacon 
says that's the only room he was in. Well, it's gone 
and 'tain't no use looking any more. 

(Betty gets basket of filled presen>e jars standing 
near door ; a little bundle of labels and saucer 
of water with small sponge; she carries them 
to the well. Mrs. Bascom continues search. 
Betty suddenly looks up at her.) 

Betty. Ma ! I'm glad he lost the money. {Put- 
ting basket on well curb and sits. Mrs. Bascom 
turns with surprise. Betty puts saucer and labels 
on tvell) I don't care, I am. I hate him. Ma, I 
just hate him. 

Mrs. Bascom. {Goes to her) Why, Betty! 

Betty. I heard what he said to you when he was 
here this mornin'. He was too mean for anythin'. 
{Turns front) The idea of saying this place was 
his. 

Mrs. Bascom. But it is, Betty. (Betty turns 
to mother) I agreed to sell it to him. 
_ Betty. Why, Ma, Joe told us last night it was all 
right as long as you hadn't signed any papers. 

Mrs. Bascom. {Shaking her head) I gave the 
Deacon my word, Betty — (Betty turns front) but 
he doesn't rvant to take the place — (Betty looks at 
her) only before Joe came home the Deacon sold 
the orchard to some man in New York, but he's 
sent for the man to come here to see me, an' he is 
goin' to ask him not to take it. {Looks under trees 
L. u.) 

Betty. {Commences work. Takes out ist jar. 



' TURN TO THE RIGHT. 79 

Then she bursts out again) But I can't forget the 
"way he acted about losing the money Joe paid him — 
He almost accused the boys of robbing him. (Mrs. 
Bascom looks at her) And he said he didn't believe 
they bought the peaches and he was goin' to look 
them up right away. {Puts on label) 

Mrs. Bascom. {Crosses at back) He'll be sorry 
that he talked so, when he thinks it over. 

Betty. {Looking front) It is curious to have 
two New York business men — (Mrs. Bascom looks 
front) out in our orchard, picking peaches. 

Mrs. Bascom. {Comes to her, r. of w.) That's 
because Mr. Gilbert's doctor ordered him to take 
exercise. 

Betty. {Suddenly remembering) Oh, yes! Mr. 
Gilbert had to go out an' exercise last night right 
after supper — {Putting jar in basket, takes out 2nd. 
Mrs. Bascom goes vp back still hunting) they're 
workin' awful hard, and they've got about all the 
kids in town pickin'. {Looking at her) Don't you 
like Mr. McCarthy, Ma? 

Mrs. Bascom. They're both splendid boys. {Still 
hunting) 

Betty. But Mr. McCarthy's — well, he's so funny 
— and he's got the nicest smile! Let Deacon Til- 
linger look them up. I ain't afraid {Pause) are 
yon? 

Mrs. Bascom. {Goes to Betty) Now Betty — 
do stop worrvin' ! Just think, Joe's home ! Deacon 
Tillinger's bill's paid — The peach crop's sold — and 
we're all well ! Why we ought to be so busy bein' 
happy — there ain't time for anythin' else — Except 
the house work — (5"/)^ goes busily to kitchen door) 

Betty. {Putting on label) I am happy, Ma! 
I'm always happy after you talk to me. 

(Mrs. Bascom smiles at her and exits. Jessie 
enters above house. She has a child's ivogon, 
which she pushes to entrance below house. She 



8o TURN TO THE RIGHT. 

is dressed prettily and shows she has done every- 
thing possible to look her best.) 

Jessie. {As she sees Betty) Hello! 

Betty. (Looking up) Oh, hello, Jessie! 

Jessie. (Pushes wagon to entrance) Company 
gone? 

Betty. (Looking at her and smiling) No, 
they're in the orchard. 

Jessie. (Goes to Betty, snickers) Everybody's 
wonderin' why in the world they bought the peach 
crop 

Betty. Well, I guess everybody'll find out soon 
enough. Did you bring the wagon so that you could 
help them ? 

Jessie. Ma sent me over to see if they'd sell her 
two baskets. 

(Betty puts 2nd jar in basket, fakes out yd. 
MuGGS heard off l. singing, " Shall we gather at 
the River f " the lumty te-tumty te-lum te-tum 

te-River " — "Shall we He enters, pushing 

wheel-barrow filled with baskets of peaches. 
Stops singing as he sees the girls, puts down 
wheel-barrow, takes off his hat.) 

Jessie. (Coquetlishly) Good-momin'. 

(Betty puts label on 3rd jar.) 

MuGGS. Is it morning yet ? ( Going to cellar with 
wheel-barrow) Seems as if I'd been up a week! 
(Throws hat in basket at cellar) 

Betty. Jessie wants to buy some peaches. 

MuGGS. (Front of -w.B.) Sure! 

Betty. I guess she'd rather see Mr. Gilbert about 
it. 

Jessie. (Laughing — starting towards l.) He's 
in the orchard, ain't he? 



TURN TO THE RIGHT. 8i 

MuGGS. Oh, he's there all right — just fell out of 
a tree 

(Jessie stops suddenly, groans.) 

Betty. Goodness ! 

MuGGS. Landed plumb on his bean. 

Jessie. Was he hurt? 

MuGGS. Well, he's shook up a little. 

Jessie. I'll go and see how he is. {She exits l. u., 
running) 

Betty. He ain't hurt bad, is he? 

MuGGS. {Stands l. of w. b.) Oh, he'll be all 
right. That kind of exercise is good for him. 
{Starts to unload peaches; placing them at cellar 
door. Takes first and second basket from l. of 
w. B.) 

Betty. {Laughs, then looking at the peaches) 
How are you getting along with the peaches ? 

MuGGS. Oh, fine, {Putting 1st basket down) but 
there's a terrible lot of 'em. 

Betty. {Put yd jar in basket, takes out 4th) 
I hope you'll be able to sell 'em ! 

MuGGS. So do I. {Second basket) 

Betty. But you knew you could when you bought 
them, didn't you? 

MuGGS. {Putting 2nd basket down) Oh, sure! 

Betty. Deacon Tillinger said no one would buy 
them this year. {Puts label on 4th) 

MuGGS. {Looks at her, is r. of w. b.) Have 
you — have you seen the Deacon this morning? 
{Takes up third basket) 

Betty. He was here a little while ago. {Looks at 
MuGGs) Did you want to see him? 

MuGGS. {Puts third basket down) Oh, no, I 
ain't particular about it ! 

Betty. {Looking at Muggs) He lost all the 
money Joe paid him last night. 

Muggs. {Turning to her in pretended astonish- 



82 TURN TO THE RIGHT. 

ment) Lost it, eh! Oh, that's too bad! (Betty 
puts 4th jar in basket takes out ^th. Trying to speak 
casually and going toward Betty) Did the Deacon 
see Joe? 

Betty. No, Joe hasn't come back yet. 

MuGGS. Oh ! 

Betty. He went out before daylight. 

MuGGS. Yes ? 

Betty. Ma said he hired Mr. Tuttle's wagon. 

MuGGS. Yes? 

Betty. Do you know why ? 

MuGGS. Perhaps he went for his trunk. 

Betty. Perhaps. He didn't bring a thing with 
him. 

MuGGS. We didn't either. (Betty puts label on 
^th jar) Those — you know — those things we found 
on the bed last night. Gee, they were immense ! 

Betty. (Laughing) They were two of Uncle 
George's night gowns. (Puts 5th jar in basket takes 
out 6th. MuGGS taking last peach basket from 
wheel barrow, begins singing " Shall we gather at 
the River." Betty putting label on 6th) We sang 
that at meetin' last night. 

MuGGS. Yeh! — It's a new one on me — (Places 
w. B. near Betty) I know "The Swanee River" 
and " On the Banks of the Wabash." (Betty puts 
6th jar iti basket also labels saucer, etc.) I like 
river songs. (Sits in w. b.) Your mother knows 
all them prayers and songs by heart, don't she? 

Betty. Oh, yes. (Looking at Muggs) They 
mean everything to her. Why, whenever she's 
worried she just reads the Bible awhile — and then 
all her trouble goes and she's happy again. 

MuGGS. You don't say ! 

Betty. Yes, because she says it makes her be- 
lieve. 

MuGGS. Makes her believe? 

Betty. Believe everythin' is goin' to be all right, 
and then it is. 



TURN TO THE RIGHT. 83 

MuGGS. {Impressed) What d'ye think of that? 

Betty. Why all the time Joe was away, somehow 
she knew he was coniin' back — even when everybody 
else thought he was dead — and last night he walked 
in just while she was praym' for him to come. 

AIuGGS. {Looking at her) No! 

Betty. Honest! 

MuGGS. {Somewhat awed) That's some system, 
if it works. 

Betty. It always does with her. 

MuGGS. Can you believe things that way? 

Betty. I try to — but I ain't so good at it as Ma 
is. Have you ever tried it ? 

MuGGS. {Rising, shaking his head) I ain't 
never heard of it — {Then earnestly and in a low 
tone, going closer to her) But it sounds great the 
way you tell it. 

{They have stopped zvork and are looking earnestly 
at each other. Jessie and Gilly enter from 
orchard. Talking as they enter.) 

Jessie. If I was you I'd see a doctor about it. 

Gilly. Oh, it ain't bad enough for that. {Dur- 
ing the above Muggs starts to exit zvith whcel- 
barro2v — going back of zvell zvhere he leaves the 
wheel-barrozv. Betty rises, fakes basket of jars, 
labels, etc., exits to kitcehn. Gilly suddenly azvare 
that they have reached the house) She bought some 
peaches. {Crosses to cellar door. To Jessie, in- 
dicating baskets Muggs has brought) Will two of 
these be all right ? 

Jessie. {Crosses to him) Yes, splendid ! 

Muggs. (r. of zvell) Say! Why didn't you 
bring two up from the orchard ? 

Jessie, (r. of Muggs) Because I wouldn't let 
him carry them, not with his lame back. 

Muggs. Why didn't you do it with your hands ? 
(Mrs. Bascom enters from kitchen, with zvatering- 
pot. Crosses to l. of w. ) Good-morning, Jessie ! 



;84 TURN TO THE RIGHT. 

Jessie. How de do! Mr. Gilbert fell out of a 
tree and hurt himself real bad, Mrs. Bascom. 
There's a big bump right there. (She indicates place 
ibetween Gilly's shoulder blades) 

(Betty enters from kitchen stays on porch. Gilly 
crosses to l. of Jessie.) 

Mrs. Bascom. (Crossing to him quickly, leaving 
watering pot back of zvell) Let me see ! 

Gilly. Oh, it ain't nothing, thank you, Ma'am. 

Mrs. Bascom. (Inspecting it tenderly) Why, 
it's quite a bruise. 

(Gilly tries to turn his head and it hurts — he 
zvinces. ]Vj.rs. Bascom exits quickly into 
kitchen.) 

Jessie. Will you put those two on the wagon for 
me, Mr. McCarthy? (Indicating two baskets of 
peaches) 

MuGGS. (Betty places wagon for him) Sure! 
(He does so) 

Gilly. (To Jessie, smiling at her) Say! We 
don't want to take this money. (Holds out money 
to her, three half dollars) 

Jessie. (Goes to him) Oh, yes. Ma wouldn't let 
me accept them for nothing. 

Gilly. Aw, take some of it back, won't you? 

Jessie. No seventy-five cents a basket is cheap 
enough. (Goes to wagon) 

MuGCS. Can't T take this home for you? 

Gilly. (Quickly) I'll do that! 

MuGGS. Oh, no, not with your lame back. 

. (Mrs. Bascom enters from kitchen door, with small 
tray on which is cup of hot water, scrap of soft 
cloth and bottle of liniment. Goes to well.) 

Jessie. I don't need any help, thanks. 



TURN TO THE RIGHT. 85 

(Mucr.s exits into orchard, pushing wheel-harrow. 
Singing — " Shall we gather at the River.") 

Betty. {To Mrs. Bascom) I'm just going to 
help Jessie home with these peaches, Ma ! 

]\Irs. Bascom. All right, dear. {Girls exit to- 
gether above house, drazving cart after them. Gilly 
folloivs them up r. c.) Now you jest sit down over 
here, Mr. Gilbert. 

Gilly. {As he goes to zvcll) I — I don't v/ant to 
make you no trouble, Ma'am— I'm all right. 

Mrs. ^Bascom. {Gently forcing Gilly to sit) 
Oh, you'll be real lame to-morrow iif it ain't attended 
to. ( Unbuttons collar of shirt. She bathes bruise — 
carefully and tenderly. As she finishes the bathing) 
There ! 

Gilly. {Looking up at her) Thank you. Ma'am 
— {Starts to rise and button his shirt, Mrs. Bascom 
puts hand on his shoulder) 

Mrs. Bascom. {Cheerily) Oh, I ain't started 
yet! {She opens bottle of liniment — pours some 
into palm of her hand. Gilly zvatches her. Mrs. 
Bascom smiles at him and he smiles sheepishly) 
Now — this may smart a little 

Gilly. Oh — I don't care about that. It's makin' 
you all this trouble I don't like. 

Mrs. Bascom. Why, bless you, it ain't a bit of 
trouble. {Pause as Mrs. Bascom zvorks. Applying 
liniment and rubbing it in skillfully) That ain't bad, 
is it ? 

Gilly. No, Ma'am. 

Mrs. Bascom. {Starts rubbing his neck. Gilly 
looking front) It would be a shame for you to get 
hurt while you and Mr. McCarthy are doing so much 
for us 

Gilly. I — I wish I could do somethin'. 

Mrs._ Bascom. Land sakes ! — Don't you call it 
somethin' to buy the peach crop — when we didn't 
think it would bring a penny? Why, Betty and 



86 TURN TO THE RIGHT. 

me hardly knew which way to turn before Joe came 
home— (Comes R. of Gilly- — Rubs neck zvith l. 
hand) and then to have you boys come along and 
buy the peaches. (Gilly looks dozvn ashamed) 
Well, as I said to Betty, it was the Lord himself 
that sent you here. 

Gilly. (Thinks over zvhat she has said, looks 
front) I guess He ain't never sent us nowhere. 

Mrs. Bascom. Oh, yes, he has — (Stops work. 
Smiling as he is looking at her. Gilly slozvly looks 
up at her, realizes it's useless to contradict her) 
He sends you every where you go. (Gilly looks 
front. Mrs. Bascom buttons his shirt collar) 
There ! Now I guess you'll feel dififerent. {Picks 
up tray, etc.) 

Gilly. (Rising) I feel different now than I 
ever did before. I — (Looking at her) I ain't used 
to havin' nobody take care of me much. 

Mrs. Bascom. Oh, nonsense — If you was home 
your Maw'd do the same thing. 

Gilly. (Shaking his head) No, Ma'am — I — I 
ain't got no — family. (Turns front) 

Mrs. Bascom. (Sympathetically) Oh! (Then 
brightly. Hand on his shoulder) Well, she's watch- 
in' and lovin' you just the same as if she was here. 
(Gilly looks at her hand on his shoulder, then turns 
to her. Mrs. Bascom suddenly kissing him on the 
forehead) There! — that's for your Maw. (Crosses 
to kitchen door) Now I must see about dinner. 
(MuGGS enters zvith another load of peaches, comes 
around back of zvell to steps of porch) Mr. Mc- 
Carthy, youll see that Mr. Gilbert don't do any heavy 
lifting to-day, won't you ? 

MuGGS. (r. c.) Yas, Ma'am. (Leaves w. B. at 
steps. Mrs. Bascom smiles at them and exits into 
house. Gilly stands motionless — lost in thought. 
Goes to Gilly) Say what's the matter? 

Gilly. (Very earnestly) I got to get out of 
here, Muggs. I can't lie to that old lady. There's 



TURN TO THE RIGHT. 87 

something all wrong with me. I'm off my nut I 
guess 

MuGGS. I know what you mean. I got it too. 

GiLLY. What ! 

MuGGS. Say, when I woke up this mornin' I 
couldn't think of nothin' but wishin' I was on the 
level, and the more 1 get sore at myself for wishin', 
the more I wishes it. 

GiLLY. That's me too — (Pause) I wonder if 
we're goin' to die. I heard that's the only time you 
feel that way 

MuCGS. We got no time to think of dying. We 
got to get back to the orchard — and keep up the 
bluff that we're busy. 

GiLLY. Gee — I hope Joe can sell the peaches. 

MuGGS. (Going to w. b.) He went out before 
daylight trying to — (Seeing girls coming) Sh ! — 
(Turns ivlieel-barrow up r. c.) Well, wire him that 
we can't let him have more than a hundred baskets. 
How many did we promise to the Boston people? 
(Pretends to jest, sees Betty and Klsie. Muggs 
starts unloading peaches, placing them up r. c. at 
stone zvall) Oh! (Putting \st basket dn-am) 

Betty. Miss Tillinger, this is Mr. McCarthy — 
and Mr. Gilbert. 

(The boys boiv.) 

Elsie. How do you do ? 

Muggs. How do you do 

Betty. (Goes on porch) Ts Joe home yet? 

Muggs. Not yet. You will excuse us, we are 
terrible busy. ( Takes 2nd basket) 

Elsie. (Talking to Gilly) Your buying Mrs. 
Bascom's peaches has given the village quite a sur- 
prise. 

Muggs. (Breaking in. Takes up yd basket) 
No more than it did us. 

Elsie. (Surprised) What? 



88 TURN TO THE RIGHT. 

MuGGS. (Quickly. Puts yd basket down) We 
happen to call on Joe — and find just what we'd been 
lookin' for. Didn't we Dudley ? 

GiLLY. Yes, more than we was lookin' for. 

Elsie. {To Gilly. Muggs puts 4th basket at 
wall) I thought it was almost impossible to sell 
peaches this year. 

Muggs. Oh. no. Ma'am — not this kind. Now we 
got to get back in the orchard. (Muggs starts ivheel- 
barrow to L. of w. Gilly turns to follow him to 
orchard) 

Betty. {Going to r. of w.) But, Mr. Gilbert, 
you ought not to go in the orchard any more to-day. 

Muggs. {Doivn l. of Gilly) Oh, I'm takin*^ 
care of him. Don't let him do anythin' but sit on 
the grass and count baskets. Get in, Dudley! 
(Muggs help Gilly to w. b., very carefully — Gilly 
sits in wheel-barrozv) Good-morning. (Muggs 
wheels Gilly off to orchard. Singing, "Shall zve 
gather at the River") 

Elsie. Was he hurt seriously? 

Betty. Oh, no, I don't think so. Ma was 'ooking 
after him. 

Elsie. Is she in the house? 

Betty. Yes. 

Elsie. {Going to door) I want to ask her about 
what father said. Oh, Betty, if we could only find 
the money. {She exits into house) 

(Betty starts toward orchard. Joe enters quickly 
above house, carrying several empty peach 
baskets and a preserve basket — leaves them at 
back, sees peaches.) 

Betty. {Turning and seeing him) Oh, hello. 
{Goes toward Joe) 

Joe. (Indicating peaches the boys have brought 
in) Hello, dear. What's all this? 

Betty. The boys are workin' in the orchard. 



TURN TO THE RIGHT. 89 

Joe. Oh! {Starts for orchard) 

Betty. {Going to house, calling) Joe's home, 
Maw. Oh, Joe ! I can tell you a secret. 

Joe. No time now, sis. 

Betty. {Front of zvell) It's about Elsie Till- 
inger. (Joe comes gack to her quickly) She's in 
love with you, and she told her father she'd never 
marry the other man. Ana I think it's all because 
you came home. 

(Mrs. Bascom enters from kitchen, carrying market 
basket.) 

Joe. Sh! 

Mrs. Bascom. Joey, where have you been all 
morning? 

Joe. {Goes to her) Doing a few errands. 

Mrs. Bascom. Ain't you awful tired? 

Joe. No, not a bit. Are you going out, dear? 

Mrs. Bascom. I want to catch the butcher's 
wagon. It's just about time for him to be at Miss 
Martin's. 

Joe. Won't he come here? 

Betty. We ain't had him for ever so long. 

Mrs. Bascom. Betty! 

Betty. But we can have him come again now, 
can't we Joe? 

Joe. You bet we can. Here's some money ! 
(Joe hands Mrs. Bascom $5 bill) 

Mrs. Bascom. Goodness, Joey — I don't need five 
dollars. 

Joe. Yes you do — what's five dollars ? 

(Betty crosses at back to door.) 

Mrs. Bascom. We mustn't be wasteful dear — 
just because we've got plenty. (Elsie comes to 
door — Mrs. Bascom smiles at her) Shan't be a 
jiffy. Time you were making the beds, Betty. 



90 TURN TO THE RIGHT. 

Betty. Yes'm. (She starts off) 

(Betty goes into house. Mrs. Bascom exits below 
house. ) 

Joe. Good- morning! (Elsie goes to him, he 
sees her worried look) Why, what's the matter, 
Elsie? 

Elsie. Joe, will you tell me what happened when 
father was here last night. 

Joe. {After a pause) Hasn't he told you about 
it? 

Elsie. I couldn't reason with him at all. Joe — , 
these men who are here. Do you know them well ? 

Joe. Very well. They're my two best friends. 

Elsie. Oh, I'm so glad — I'ye been afraid they 
were getting you into trouble, serious trouble. 

Toe. Why? 

Elsie. Father thinks they took the money you 
paid last night. 

Joe. I'm aroing to see your father, Elsie 

Elsie. He's gone out of town, but he said if the 
men were here when he came back he'd turn them 
over to the Sheriff. 

Joe. (Looks l., then back to Elsie) Well, if 
there is any trouble, it won't do to have you seen 
here, Elsie, why it might look as though 

Elsie. Joe, if I can do anything to help you 
(Crosses above Joe to well) I don't care how it 
looks. 

Joe. (Forgetting everything except that he loves 
her) Elsie ! 

Elsie. Do you — Do you remember the last time 
we were here ? What we said to each other ? 

Joe. Remember? I'll never forget it (She 
smiles at him and looks azvay at a little knoll in the 
distance, ?//> r c. — he follows her look) Are — are 
you looking at our hill ? 

Elsie. Yes. (She nods her head, still turning 
away) 



TURN TO THE RIGHT. 91 

Joe. Where I was going to build our house — 
(Turns front) the times I've thought of it since — 
and of all the plans we made 

Elsie. (Still looking at it) So have I 

Joe. (Looking front) There's no house there. 

Elsie. (Turning to him) Perhaps there will be 
— sometime 

Joe. (Shakes his head) Everything has changed 
now. 

Elsie. I haven't changed. (As Joe looks up) 
I'm just the same as I was then (Smiling) Joe, even 
if I have got on a different dress. 

Joe. (Goes closer to her) Elsie — I care more 
for you than I do for my life — or my soul — But 
there isn't a chance in the world I can ever have 
you — even if you were willing. You'd be throwing 
yourself away. Why, I'm nothing (Turns away) 
worse than nothing 

Elsie. It doesn't make any difiference to me be- 
cause you say you're a failure 

Joe. It's more than that, Elsie (Turns to her) 
Why, I'm not fit even to look at a girl like you 

Elsie. I don't believe it, and Joe I — I love you. 

Joe. Listen, Elsie you've got to know this now 
(Turns away) I — I was in Sing Sing prison all last 
year 

Elsie. (In horror, sinks on curb of well) Joe! 
(She gives a little sob) 

Joe. Yes — for robbery! (Elsie continues to 
sob. A pause. He glances at her and speaks again 
quietly) Did you ever know why I ran away ? (.9/;^ 
shakes her head) I was ordered off your place; 
told I'd be horsewhipped if I ever spoke to you again. 
(Smites unhappily) I thought I could make a for- 
tune in the city and come back and get you. Well, 
in no time I had a job at a race-track and I was get- 
tin' along a little — but the pool box looked so much 
easier than workin'— I won the first four bets I 
made — but after a while I'd get so excited watchin' 



92 TURN TO THE RIGHT. 

a close finish — I'd take a drink — that's the way it 
started — and that's the way it ended. I'd sober up — 
get a job — save a httle. And then — But it wasn't 
long, Elsie before I realized I'd got to lose you. You 
was growing up to be a lady — goin' to be sent to a 
swell school where you'd meet fashionable people, 
while I was — well, horses was all I knew. Last 
Spring — a year ago — I had a big run of luck — I 
turned a five Dollar note into a roll of over Two 
Thousand, and I sent my mother word I was comin' 
home. My last day at the track, I get the biggest 
tip I ever had — it's a dark secret — it opens at thirty 
to one, and at the post it's down to five. It looks like 
the big chance of my life — I put my last nickel on it 
— I stand to win forty Thousand — (Elsie looks up 
to him) I think of — of everything I can do with it 
— from what I find out about the horse, he's got to 
fall down to lose — and that's just what he does. I 
never mind losin' much before — but that one got 
me. (Elsie looks dozvn) I'm laughin' an' drinkin' 
with everyone I meet, but inside I'm dyin' thinking 
of that bank roll — that's the last I remember — 
There's a two-year-old named " Fire-Fly " ( Elsie 
looks at him) in one of the stables, that I'm dead 
in love with. They find me lying in his stall — and 
I've got the owner's empty pocket-book that had 
twenty-five hundred in it when he lost it. How or 
why I took it — or what became of the money, I don't 
knew to this day — (Ttirning away) 

Elsie. Joe — poor Joe 

Joe. Please don't give me any sympathy, Elsie — 
I'm not worth it 

Elsie. (Rises, goes to him) But, Joe — I — I love 
you. (Joe looks wonderingly at her) And you 
never did anything else that was dishonest. Did 
you? 

Joe. Yes, the thing last night was dishonest. 

Elsie. With father? 

Joe. Yes — the money 1 gave your fathei came 



TURN TO THE RIGHT. 93 

Ovit of his safe — he only had it a minute — it was 
taken away from him and put back in the safe 
again. 

Betty. (Enters from house with dustpan and 
broom, empties dust into basket by door) Ma ain't 
back yet, is she? (Jon: goes up r. c.) My! Din- 
ner '11 be awful late. It's most noon now. 

Elsie. (Crosses to her) Oh, it can't be. 

Betty. I jest heard the 11 : 40 comin' in. (Exits 
into house) 

Elsie. They're expecting father on that train, if 
you could only give him the money 

Joe. That's what I wanted to do. I've been out 
all morning trying to raise it. 

Elsie. I've got some money — I'll lend it to you. 

Joe. Elsie, I couldn't take your money. 

Elsie. (Suddenly) Oh, I know a way, Joe. 
Don't worry about father, it will be all right. (Exit 
above house) 

(MuGGS and Gilly enter from orchard, place wheel- 
barro'v above well.) 

Mur.GS. (Comes r. of well. Gilly goes L. of 
it) Gee. I'm glad you're back. 

Joe. Whv — what's happened ? 

MuGGS. Wait till I tell you — We're all ready to 
blow this morning, when we find out that nobody 
around here believes we bought the peaches, so, to 
make a bluff, we go out in the orchard and I hire 
a million kids to help pick 'em. 

Joe. How much you pavin' 'em? 

MuGGS. Don't worry, don't worry. I'm payin' 
'em in peaches. 

Joe. (Crosses to Gilly l. c.) Tillinger started 
that story. He's told the whole neighborhod that you 
two are crooks, and he's comin' round with the big 
Sherifl. 

Gilly. The old stiff! After me goin' to the 
trouble of puttin' that coin back in the safe. 



94 TURN TO THE RIGHT. 

MuGGS. (r. c.) What luck did you have? 

Joe. (c.) None — I carted 20 baskets to Center- 
ville and went to every market, fruit and grocery 
store in the town. Say ! You can't give peaches 
away 

MuGGS. Did you have to bring 'em back? 

Joe. No, I sold 'em from house to house, but we 
can never get rid of them all that way. 

GiLLY. Then your mother'U find out we've been 
lyin' to her 

Joe. Gilly, she mustn't find that out. 

MuGGS. How can we help it ? 

Joe. Well, I've got a scheme. It's only one chance 
in a thousand, but it's something. 

Gilly. What is it ? 

Joe. Listen ! AH the way home I'm tryin' to 
think of some excuse why you two bought the crop. 
I know we can't stall long, because the peaches will 
begin to spoil 

MuGGS. There ain't no way to keep 'em from 
spoilin', is there ? 

Joe. Yes, there is. There's one way. 

Gilly. Eh ? 

Joe. Make jam of 'em. 

MuGGS. Like we had last night? 

Joe. That's the idea. 

Gilly. Holy Jessie James ! 

Joe. I put a dozen jars of jam in the wagon and 
it was a pipe selling it. Got 50 cents a jar for it, 
too. 

MuGGS. Fifty cents a jar? 

Joe. I've spread the story all over the village, 
we've organized a peach jam Company. God knows 
how we can make it all, but we got to try and find 
some place where it can be done. Great Scott ! If 
I could only believe it would work. 

MuGGS. Say ! It will if we believe it. If you be- 
lieve a thing it'll come out just like you believe 

Joe, What are you talking about ? 



TURN TO THE RIGHT. 95 

MuGGS. Never you mind — just believe. ( Crosses 
to Gilly) Go on, Gilly, believe it. {Slaps Gilly 
ton the back) 

Gilly. Oh, my back ! 

MuGGS. Never mind your back — believe it ! 

(Sam Martin enters hurriedly belozv house. He 
ivears light checked suit, straiv hat, flashy 
flo'cving tie, stand up collar, tan shoes with Bull 
Dog toe.) 

Sam. {Excited and out of breath) Hello, Joe! 
— I just heard you was home — (Muggs crosses at 
back to R. of Sam ) Remember Sam Martin ? 

Joe. Why sure — Hello Sammy, how are you? 
(^Shakes hands) 

Sam. I'm all right. 

Muggs. {Coming close to him and looking him 
over) Say, kid! Where's the circus ? {Sam turns 
to him) Take me along with you, will you? 

Sam. I ain't goin' to no circus — and I don't know 
you anyway. 

Muggs. {Putting arm around his neck) Well, 
■come on, let's get acquainted ! 

Sam. Go on an' let me alone! {Pushes Muggs 
aivay) 

Joe. Nix, Muggs. 

Sam. (To Joe.) Say, what ails him ? 

Joe. He's all right, Sam — He's just a little play- 
ful but he won't bite 

Sam. Well, I ain't got no time to be playful now 
— I'm busy — Where's Mis' Bascom ? 

Joe. Gone out. 

Sam. Is it true she's sold the peaches ? 

Joe. Yes, that's true 

Sam. Who to? 

Muggs. (r. c.) To me. 

Sam. {Looking at Muggs) She hain't (Mrs. 
Bascom enters below house — she has brown paper 
parcel in basket. To Joe) Has she? 



96 TURN TO THE RIGHT. 

Joe. Yes, that's right, Sam. 

Sam. (Crosses to Mrs. Bascom, r.) How do. 
Mis' Bascom ? 

Mrs. Bascom. Why, Sammy! — How grand you 
look ! 

Sam. Yes'm — I been in New York — on business. 
Did you sell him your peaches ? (Points to Muggs) 

Mrs. Bascom. Yes, he's bought the whole crop. 
(Sam goes up to cellar door. Muggs goes to Gilly 
of w. B. Joe goes to her) Joey, do you know what 
they're sayin' in the village? 

Joe. Yes, mother, and 1 want to talk to you about 
that. 

Mrs. Bascom. Oh, well ! I'm awful late with 
the dinner — I guess I'll have to get that first. (Goes 
tozvard door) 

Joe. (Holding door open) I can tell you about 
it at the same time — I'll be back pretty soon, Sam. 

(Mrs. Bascom exits into house, followed by Joe.) 

Sam. To Muggs) Say, what are you going to 
do with the peaches? 

Muggs. Eat 'em. (Muggs and Gilly unload 
peaches, placing them at cellar door, on the last 
basket taken off, there is one loose peach that Joe 
gives to Callahan) 

Sam. I heard there was a syndicate that's goin' 
to make Mis' Bascom's jam 

Muggs. (2nd basket) Do you get that ! There 
ain't no chance to keep a secret around here. 

Sam. (Indicating Gilly) Who's he ? 

Muggs. That gentleman is my partner 

Sam. Are you two a syndicate ? 

Muggs. (yd. Basket) Sure, we're a syndicate. 

Sam. (Crosses to l. c.) And you're goin' to 
make jam of all that peach crop ? 

Muggs. (4^/1 basket which he places nearest steps 
of porch — Gilly moves w. b. to L. of well) Right 
down to the last peach skin, kid. 



TURN TO THE RIGHT. 97 

Sam. Who's goin' to sell it for you ? 
MuGGS. {Going to S\u) Why? Can you sell 
some? 

Sam. I can sell it all. 
MuGGS. You can what ! 

(GiLLY comes down l. of Sam.) 

Sam. You give me the chance an' I'll show you. 

MuGGS. Well, you go right ahead and sell 'em. 
(Goes tip R. c.) 

GiLLv. Say, and hurry back with the money. 
(Goes up L. c.) 

Sam. (Taking out paper) Say, if you mean it, 
how would you like to sign this ? 

MuGGS. (Coming back to him) What is it? 

Sam. Oh, it's all square. I just give Mr. 
Stephens, the lawyer, fifty cents to write it out for 
me 

(GiLLY comes l., of Sam.) 

MucGS. Read it! {.Uvgcs and Gii.hY listen at- 
tentively) 

Sam. Know all men by these presents, that I 
blank— the blank of the blank Jam Company for 
the sum of One Dollar, lawful 

MuGGS. One Dollar ! 

Sam. Oh, that's only the way a lawyer writes it 
but what it means so's folks can understand it is 
that you agree to give me one per cent commission 
on the Jam, and I guarantee to sell all you can 
make 

MuGGS. And you think we'd give you all that for 
one dollar ! Say, listen ! Anybody that wants to do 
business with this syndicate has got to put up some 
money — some regular money. 

Sam. How much do you want me to put up? 

MuGGS. How much you got ? 



98 TURN TO THE RIGHT. 

Sam. I got most Three Hundred Dollars 

MuGGS. Kiss me! {Opens his arms to embrace 
Sam, falls on him) 

Sam. (Pushing him aivay) Oh, stop foolin', will 
you an' talk business 

MuGGS. Just show me that coin. 

Sam. (Feeling in his inside pocket, takes out 
bank book with roll of bills in it. Muggs and Gilly 
crowd close to him, he pushes them aivay with his 
elbows) Oh, I got it all right! If I put up some 
money, how do I know you're goin' to make the 



jam 



Muggs. I'm tellin' you. 

Sam. I don't believe all I'm told — Let me put 
it in here. (Referring to paper) If you don't make 
the jam, I own the peaches, an' I'll give you Two 
Hundred and fifty Dollars as an advance on the 
first lot I sell. 

Muggs. What do you say, Mr. Gilbert ? 

Gilly. I say count it and see if he's got Two 
fifty. 

Muggs. You're on, kid — hand over the coin. 
(^Starts to grab it) 

Sam. (Pulling back) Wait a minute 

Muggs. It's hard for you to give up, ain't it ? 

Sam. (Writing) I ain't givin' up till I get this 
signed. I worked four years for this money. 
What's your name? 

Muggs. McCarthy. 

Sam. I want to write it in this blank — What's 
your first name? 

Muggs. (Absent mindedly) McCarthy. 

Sam. (Looking up) What, your first and last 
name just the same ? 

Muggs. It's my middle name too — McCarthy 
McCarthy McCarthy ! 

Sam. That's a hell of a name (Offering paper) 
Put it there. 

Muggs. (Shaking hands with him) How are 
you! 



TURN TO THE RIGHT. 99 

Sam. (Pulling azvay his hand) No — I mean 
your name 

MuGGS. (Taking paper and pen) I'll sign it in 
four places! — Be gettin' that Two Fifty ready, 
kid 

Sam. (Counting out money) Don't you worry. 
(Joe enters from house — As Sam finishes counting 
money, Muggs snatches it from him — Sam grabs 
for it, and Muggs puts paper in Sam's hand. 
Muggs and Gilly count money carefully. Crosses 
to Joe, hands paper to him) Say, Joe, is this all 
right? {]0E looks at paper) If it ain't I can make 
it hot for him — (Comes back to Muggs) It would 
be obtaining money under false pretences. 

Joe. (Reads paper in amazement) What the 
blazes is this ? 

Sam. I just paid 'em Two Hundred and fifty 
Dollars — (Muggs waves money at Joe) for the 
right to sell their jam. 

Joe. (Crosses to Muggs, Muggs shows Joe the 
money. ]oe turns to Sam) Where did you get Two 
Hundred and fifty Dollars? 

Sam. From the bank ! I drew out all I had. 
Them fellers ain't cheatin' me, be they? 

Joe. What makes you think you can sell it? 

Sam. Never mind — All I want to find out is 
whether that paper's good. 

Joe. Sure it is 

Sam. (Grabs paper, starts off quickly) So long ! 

Joe. (Stopping him) Here! Wait a minute! 
Who got you to do this ? 

Sam. Nobody — I done it my own self. 

Joe. (Turns Sam to his l.) Oh, no you didn't. 
Tell me the truth now. 

Sam. (Putting azvay paper) Honest, Joe — Only 
I found out where I could sell it ! 

Joe. Where's that? 

Sam. Not much — If I told you you might try to 
beat me out of my commission ! 



lOO TURN TO THE RIGHT. 

Joe. No, Sam — No one wants to beat you. We 
couldn't anyhow — you've got the agreement. 

Sam. That's right. 

Joe. Come on, tell us, Sam. 

Sam, Well, I got a man in New York that'll pay 
$36.00 a gross for all he can git. And that man is 
Henry W. Parker! 

Joe. Henry W. Parker? 

MuGGS. Who's he? 

Sam. Who is he? He's the biggest wholesale 
grocery in the country, an' I was talkin' with him 
just the same as if he was anybody. 

MuGGS. Sweetheart! {Starts to embrace him. 
Sam pushes him azvay) 

Sam. Now you stop. Say, Joe, keep him away, 
can't you ? 

Joe. He's all right, Sam. Now sit down and tell 
us. 

Sam. (Sits on well, talks faster and faster as he 
goes on) Well, Mr. Parker came through here 
with an automobile party about a month ago — they 
were hungry and they wan't no hotel, so they bought 
a lot of stuff at the grocery store — I waited on him 
and sold him a jar of Mis' Bascom's preserves. 
(Sees MuGGS close to him and suddenly moves 
away) A week after that the Deacon commenced 
to get letters from the Parker Company, and next 
thing I knew he was tryin' to buy this place. Then I 
heard him tell Mis' Tuttle to make some jam for 
him, an' try to have it like your Ma made, an' he 
sent a sample of it to the Parker Co. — I suspicioned 
somethin' was goin' on, and yesterday when your Ma 
agreed I could sell some, I says to myself — I'm goin' 
to see Mr. Parker. I was at his place at 6 o'clock 
this morning, but he didn't open up till 8. When he 
come he wasn't goin' to see me — but you bet I got 
into his office, an' I told him the whole thing. As 
soon as I got started he says into the telephone — 
" Don't let me be interrupted ", he says ; then he told 



TURN TO THE RIGHT. loi 

Tne the samples he got from Tilhnger wasn't the same 
as what I sold him. Then he tasted some jam from 
the jar I brought direct from Mis' Bascom, and he 
says, " That's it — how much can you get of that ? " 
and gosh he was excited, an' then we figured as near 
as we could how many jars this crop would make, 
(Rising) and he was tickled to death and he says 
" It'll be the biggest thing of the kind on the market." 

(MuGGS and Gilly grab Sam and "Ring around 
the Rosey.") 

Sam. {Breaking away. Crosses above Joe to 
steps of house. Joe catches him by the arm and 
savings him around front to r. of zvell) Say, Joe 
Let's go in the house an' get away from him. 

Joe. Oh, he's all right, he won't trouble you. 

MuGGS. No, my partner will keep me away. (To 
Gilly) Hold me! 

Gilly. Sure. 

Sam. {Taking out another sheet of paper) 
Here's how it figured out — Look ! Your orchard is 
five acres — a hundred and thirty-five trees to the 
acre, countin' ten baskets to a tree and sixty peaches 
to the basket, makes four hundred and five Thou- 
sand peaches, or more than a Hundred Thousand 
jars. (Sam gives Joe the paper) Parker offered 
Thirty-six Dollars a gross and, takin' out Five 
Thousand for jars, labels, labor and everythin', 
leaves you over Twenty Thousand Dollars 

MuGGS. {With arms outstretched) Oh! 

Sam. Look out, now! (Swings at Muggs 7(>ho 
jumps back. Joe grabs Sam and Gilly catches 
Muggs) 

Joe. Sam you're a corker— Now do something 

for me, quick — and I may raise that one per cent 

Get the first train back to New York and find out if 
Mr. Parker will see me in the morning. 



102 TURN TO THE RIGHT. 

Sam. Will you pay my expenses? 

Joe. {Pushing Sam to r.) If the jam business 
wins out, I'll pay 'em for the rest of your life. 

Sam. The next train goes in ten minutes 

Joe. (Pushes him r.) Well, grab it 

Sam. But I ain't had no dinner. 

Joe. Oh, forget your dinner. 

Sam. (Starts off) But I'm gettin' awful hungry. 
I ain't had nothin' all day but peanuts. (Exits run- 
nmg beloiv honise) 

Joe. (Crossing between Muggs and Gilly) 
Boys ! 20,000 a year ! 

Muggs. (Holding up tivo rolls of bills) Here's 
125. for the Deacon and 125. for the syndicate. 

Joe. (Takes the roll for the Deacon from 
Mugg's right hand) Just give me that — (Crosses 
to R. c.) I want to take it to Tillrnger. 

(Callahan appears above house. He is a man of 
about 45 years, medium sized, blunt but kindly. 
His manner is quiet and forceful. He is dressed 
in a neat business suit and wears a straw hat.} 

Callahan. (At entrance above house) Say, can 
you tell me where Mr. TiTlinger lives? — (The three 
boys glance around. Callahan recognises Muggs 
anrf Gilly) Hello! (Comes doivn back of well to 
L. c. Gilly crosses to r. of Joe) 

Muggs. Callahan ! 

Joe. Who? 

Gilly. (under his breath) A bull! 

Muggs. Nailed! 

Joe. a detective? 

Gilly. Sure ! 

Callahan. (Looking at Muggs and Gilly in 
surprise) Well, what's all this about? 

Muggs. (Innocently, going to him) Hello, Calla- 
han, what's the matter? 

Callahan. That's what I want to know. There's 



TURN TO THE RIGHT. 103 

somethin' doin' — (Crosses to r. of Muggs) or 
Slippery Muggs and Dynamite Gilly wouldn't be 
liangin' around here. 

Muggs. Soft pedals on those names, will you? 
"We ain't doin' nothin', are we, Gilly ? 

Gilly. No, not a thing — on the level we ain't. 

Muggs. Just payin' a visit to Mr. Bascom here. 

Callahan. (Lookmg suspiciously at ]on) How 
■do you do, Mr. Bascom? 

Joe. How are you? 

Callahan. Do you know these men? 

Joe. Yes, they're pals of mine. 

Callahan. Is that so? (Looks about the place') 

Muggs. (To Callahan, indicating Joe) Now 
don't go mixin' him up in anythin' — he ain't in our 
business. 

Callahan. Oh, shut up! (To Joe) You live 
here? 

Joe. Yes, sir. 

(Callahan goes to house, examinhig the place. 
Gilly, as soon as Callahan's back is turned, 
crosses at back to front of zvell.) 

Callahan. (Speaking during the above) Well, 
tliis looks great ! You couldn't have picked out a 
better spot — nice little story for the Chief — this is — 
of course that house ain't got a bit of stolen property 
in it. 

Joe. No, it hasn't 

Callahan, (r. of Joe) Oh, no — and so there 
ain't no harm in havin' a look through it. (Starts 
up steps of porch) 

Joe. (Stopping him) Yes there is — ^you've got 
no right to go in there 

Callahan. (Breaking in) Easy now, don't try 
to pull anything on me. I'm goin' to look through 
every inch of that shack — and if you three know 
what's good for you, you'll be nice — See? — Nice? 
(Turns to porch) 



ro4 TURN TO THE RIGHT. 

Mrs. Bascom. (Opens porch door) Dinner's 
ready, boys — {Sees Callahan) Oh! (Stands 
smiling at him. Callahan looks at her in great 
surprise — takes off hat) 

Joe. Mr. Callahan, this is my mother. 

Mrs. Bascom. (Going to him smilingly and offer- 
ing hitn her hand) I'm real glad to see you, Mr. 
Callahan. 

Callahan. (Uncomfortably shaking hands) 
Thank you. 

Mrs. Bascom. We're just goin' to have dinner — 
won't you stay ? 

Callahan. You're very kind, but I 

Mrs. Bascom. Oh, do, it won't take a minute to 
set another place. 

Joe. We — we've got a little business to talk over 
first, mother 

Mrs. Bascom. Oh, well, don't hurry — But you'll 
get Mr. Callahan to stay 

Joe. I'll try. 

Mrs. Bascom. That's right (Turns at door) 
Come in when you're ready. (She smiles at Calla- 
han and exits into house) 

Callahan. (Thinks a moment — puts on hat) 
The search thing is off. 

Joe. Thank you, Mr. Callahan. Why, my 
mother's always lived in this village. Anybody'll 
tell you she's all right. 

Callahan. Say — I wasn't bom yesterday. I 
know she's all right, but you want to be careful 
about the friends you have around you. (Glances 
at MuGGS and Gilly) 

Gilly. We're both keepin' straight here, Calla- 
han. On the level we are. 

Callahan. (Crossing to Muggs. Gilly comes 
R. of Callahan) I'd like to believe that. 

MuGGS. Want me to tell you how to believe it ? 

Callahan. No, I want you to get out. 

Muggs. Who tipped you off we was here ? 



TURN TO THE RIGHT. 105 

Callahan. Nobody. I'm on some other busi- 
ness, but I thought I'd have to quit it long enough 
to take you guys bacit. {Glances at Muggs and 
Gilly) 

Muggs. Who are you after? 

Callahan. Not you, I'm glad to say. {Looks 
at Muggs and Gilly) You behave yourselves now. 
{Goes up R. to exit above house) 

Muggs. You bet. 1 . ™ , . 
Gilly. Sure. / ^^'dether) 

Callahan. So long ! 

Muggs. Bve-by ' "1 

Gilly. So-long! | C^^'^^''^^'') 

(Gilly crosses above Muggs to l.) 

Tillinger. {Entering from belozv house) Ha! 
You two scallywags are here yet, be you ? {Crosses 
to them) 

(Callahan stops and listens.) 

Joe. What business is that of yours ? 

Tillinger. You'll find it's my business. Your 
Ma owned up this mornin' that this farm was mine, 
and the man I sold it to's comin' here to claim it. 

Joe. When he comes we'll talk to him. 

Tillinger. But them rowdies are pickin' my 
peaches, an' if they don't clear out an' let 'em alone, 
I'll have 'em both in the calaboose. 

Callahan. {Coming down r.) What's that? 
_ Joe. {Desperately) The peaches don't belon? to 
him, Mr. Callahan. 

Tillinger. Perhaps the Hundred and twenty-five 
Dollars they stole last night didn't belong to me ! 



io6 TURN TO THE RIGHT. 

Callahan. (Crosses to and looking from Muggs 
to Gilly) So — you have been pulling something! 
(Turns to him) Is your name Tillinger? 

TiLLiNGER. Yes. 

Callahan. Perhaps I can be of some help to 
you. (Shozvs badge) I'm from New York Police 
Headquarters. 

Tillinger. A detective ! I'm mighty glad you're 
here. 

Callahan. Tell me what the trouble is. 

Tillinger. Last night, one of these fellers picked 
my pocket. 

Callahan. (Looks at Muggs, then turns to 
Tillinger) Which one? 

(Muggs pulls money out of pocket while Cal- 
lahan's back is turned tozvard him. Tries to 
get Gilly to take it — Gilly side steps. Note : 
Muggs has the money in his left hand, he 
folds it up as small as possible, then turning 
towards Gilly he stands with his arms akimbo, 
and slips the money into his left hip pocket. 
He keeps his left hand closed until after he is 
supposed to slip the money into Tillinger's 
pocket.) 

Tillinger. (Doubtfully) Well, I guess they 
both of 'em had a hand in it. 

Callahan. Have you just found it out? 

Tillinger. No, I missed it out of my pocket last 
evenin', but I thought I'd lost it at first — spent half 
the night lookin' for it. (He glances savagely at 
Muggs and Gilly) Scoundrels 1 

Joe. He can't prove that any of us took his 
money, Mr. Callahan. (Goes up r. c.) 

Tillinger. I can prove one of 'em assaulted me. 

Callahan. (Surprised) Assaulted you? 

Tillinger. Yes, he did. (Points at Muggs) 

Muggs. (Crossing to Tillinger) I didn't 



TURN TO THE RIGHT. 107 

assault you. {To Callahan) Why, Callahan, he 
was in the kitchen — usin' insultin' language to Mr. 
Bascom, an' all I did was just to push him out — 
easy — like that. {He illustrates, and as he does so 
sli[>s the roll of bills into Tillinger's right hand vest 
pocket. Joe does not see this. Muggs, after the 
scuffle, goes R. showing his empty hands) 

TiLLiNGER Take your hands off'n me. (Rushes 
to Callahan for protection) 

Joe. {Coming doivn) Nix, Muggs. {Going to 
Tillinger) Mr. Tillinger, you lost that money last 
night. 

Tillinger. I never lost a c^nt in my life. 

Joe. Oh, yes, you did, for I found it on the 
porch this morning, and here it is. {He hands 
Tillinger Sam's roll of bills. Then crosses to r. 
Muggs goes t07vard Tillinger, and above him) 

Tillinger. {As he coniits the money) Ah, 
you're givin' it back now — tryin' to keep out of limbo, 
but you'll find — {He is putting the money in his vest 
pocket. He stops suddenly — surprised— looks front 
— feels in his pocket, slowly zvithdraws his fingers 
zvith tzvo rolls of bills, takes one roll in each hand) 

Callahan. What's that? 

Tillinger. {Counting the money, amazed) An- 
other hundred and twenty-five ! 

(Elsie comes on from above house. Comes down R. 
of Muggs. She is quite out of breath.) 

Elsie. Father ! — I just found the money you lost, 
under the hall sofa ! (She holds out roll of bills to 
him) 

Muggs. (To Elsie) He's got his money, Ma'am. 
(Snatches one roll of bills from Tillinger) That's 
my coin that Mr. Bascom found 

Callahan. {Crosses to and grabs Muggs by 
arm) Hold on! Let's see about all this. 



io8 TURN TO THE RIGHT. 

(They all start talking at once.) 

Callahan. (Shouting) Wait a minute! 

Joe. I can explain it, Mr. Callahan. 

Callahan. Well, explain it then. 

Joe. (Uncertainly) I will. Last night I paid 
him — but first, (Goes up on porch and opens door 
to house) Miss Tillinger, would you mind going 
inside? 

Tillinger. (As she reaches steps) Elsie, I want 
you to go home ! 

(Elsie stops.) 

Joe. She can go this way just as well — (Elsie 
crosses Joe and exits into house, Joe whispering to 
her as she crosses) God Bless you ! 

Callahan. Now then, Mr. Bascom 

Tillinger. I can tell you 

Callahan. (Stopping him) Just a moment — I 
can only hear one at a time. 

Joe. Mr. Callahan, do you see those peaches? 

Callahan. Do you think I'm blind? 

Joe. (Offering him one) Try one 

Callahan. (Taking the peach — later puts it in 
his pocket) Say ! What are you tryin' to do — bribe 
me? 

Joe. No, I'm tryin' to tell you that my mother 
has an orchard full of them — and this man's trying 
to cheat her out of it. 

Tillinger. It's a lie. She was poor and I sold 
this place to help her and make her comfortable. 

Joe. You didn't sell it at all. Mr. Callahan, do 
you think he'd sell an orchard of — of — (Gets paper 
Sam has given him) 135 trees to the acre, and ten 
baskets to the tree, sixty peaches to the basket — when 
he knew that those peaches would make more than 
twenty thousand dollars' worth of jam a year — 
(Crossing to Tillinger. Muggs starts up r., 



TURN TO THE RIGHT. 109 

Callahan does same to cut him off) You knew all 
this when you tried to get this place, and I can prove 
it. 

(Morgan enters belozv house.) 

TiLLiNGER. Ah ! Here's the man I sold the place 
to — (Joe turns and recognises Morgan) Perhaps 
you'd better hear what he's got to say — Mr. Morgan. 

Morgan. {Going to Joe) Pete Turner! 

TiLLiNGER. Why, his name's Joe Bascom. 

Morgan. His name's what ? 

TiLLiNGER. Joe Bascom, he's the feller that's 
holdin' up the sale of this place. 

Morgan. Oh, he won't hold up much longer when 
I tell you about him. Mr. Tillinger, that man robbed 
my father of twenty-five hundred dollars he spent 
last year in — in 

(Mrs. Bascom opens kitchen door and enters. 
She slowly goes dotvn the steps and above the 
men. Morgan's back is to her. Callahan, 
who has come doivn on his r., touches Morgan 
on the shoulder, he turns, looks at Callahan, 
his expression changes to one of horror as 
Callahan slowly shozvs him his badge.) 

Callahan. Mr. Morgan, I want you. (Quietly 
showing badge) Your father sent me for you, he's 
found out who's been robbing him now. He knows 
all about those notes, and checks and everything. 

Joe. (Screaming) Ah! I know now — it was 
you — you stole that money — ^you had me sent away 
for a year — you — (Rushes at him with arms up- 
lifted) 

Mrs. Bascom. (Coming betiveen Joe and Mor- 
gan, she throzvs her arms about Joe's neck) Joe! 

Joe. (Embracing her frantically) Mother, I can 
tell you now. I can tell you everything. 

CURTAIN. 



TURN TO THE RIGHT. 

ACT III. 

Scene :^ — Same as Act II. 

Except a number of changes have taken place. 
A wide veranda has been built an front part of 
the house extending off-stage above house. 
Kitchen ivindozv has nezv shade. On veranda 
are several parch chairs and a small table^ and 
a small zvicker chair is on lazvn r. c. 

Up R. c, in the distance, a new hcnise has been 
built cm the hill. It has three zvindozvs on 
ground floor, zvhich on cue are lighted, and one 
windozv in second story, zvhich also may be 
lighted, after the lights in first floor go out. 
This tipper zvindozv has a shade zvhich is slozvly 
lozvered after the room is lighted. 

An auto, zvith head light and red rear end 
light, starts on cue from u. R. to house, stops 
there, and then continues down the hill and out 
of sight u. L. 

There is a ground rozu of hill, trees, bushes, 
etc., across stage as far back as possible. On 
the back of this rozv a track is built on zuhich 
the auto is drazmi by a windlass and string. 
The auto is about 12 by 10 inches. The house 
is about 30 by 16 inches. The peach trees on 
left are in full bloom. 

Time: — 8:30 P. M. The next year. 

At rise, the stage is empty. In the house a 
dinner party is in progress. They are just 
finishing. Laughter and chattering heard. 
There is applause and cries of "Speech!" 
Then Joe's voice is heard faintly. 



TURN TO THE RIGHT. in 

While the follotving is going on, Katie, the 
Tnaid, enters from kitchen door. She is young, 
good looking and wears a regulation Maid's 
costume. She is carrying a large tray mi Tvhich 
is coffee percolator, four small coffee cups, 
saucers and spoons, sugar bond and tongs, 
cigars, cigarettes, and a table cloth. She places 
tray on chair on porch. Takes a small wicker 
table from porch and places it on stage near the 
steps. Takes the table cover from tray and 
spreads it on the table, then puts tray on table. 
Stands l. of table. 

Joe. (Off-stage — in house) It is easy to say this 
IS the happiest evening of my hfe, because, since I've 
been married, that is what every evening has been — 
(There are miirmurs of applause — "Good boy," 
" You both look it," " Hope it zvill ahvays keep 
up," etc.) My wife and I — (Cries of " Oh ") have 
had a wonderful trip — but we've both said the best 
part of it is getting home. (Cries of " Good," " Glad 
you're back," " Welcome," etc.) This magnificent 
banquet, so splendidly arranged by that great social 
lion — our Mr. Samuel Martin — (Applause and com- 
ment) Has been a joyful surprise to my wife and 
me. 

(The above is not to be distinctly heard in front — 
only an occasional word. There is loud ap- 
plause, cries of " Hear" " Hear," " Some 
speaker," etc., etc. Sam's voice is heard.) 

Sam. (Off-stage — in house — loudly) Now, no 
nore speeches. You do that at banquets, not dinners. 

(Laughter and cries of " Well, zvell!" " What do 
we do next?" etc. Deacon Tillinger and 
Mrs. Bascom come around porch. Deacon has 
on frock coat and carries a gold headed cane. 



112 TURN TO THE RIGHT. 

Mrs. Bascom zvears a plain but rich dress, 
with a diamond bar-pin on her bosom.) 

TiLLiNGER. {Comes R. of well) I ain't narrow 
minded, but I was brought up to consider that 
dancin' was wicked 

Mrs. Bascom. (Going around back of zvell to l.) 
Nonsense, Deacon! The idea! {Peach blossoms 
drop from branch as Mrs. Bascom bends it down to 
smell them) 

TiLLiNGER. And when I heard that Joe and Elsie 
was goin' to have dancin' at their party to-morrow 
night — I thought 'twas my duty to speak to the 
minister about it. (Comes down r. c.) 

Mrs. Bascom (Comes front of zvell) What did 
he say? 

TiLLiNGER. Well, Dr. Hill's a yonng minister — 

Mrs. Bascom. But, what did he say? 

TiLLiNGER. Said he was glad to hear it, and he'd 
be there. (Goes above table) 

Mrs. Bascom. (Seeing Katie arranging tray) 
Mercy sakes, Katie what's that ? 

Katie. (Has finished arranging table) Coffee, 
ma'am — Mr. Martin told me to put it out here after 
I served the dessert. (Katie exits to kitchen) 

TiLLiNGER. That Sam Martin's lost his wits. 

Mrs. Bascom. (Laughing as she sits on well) 
If he has, he's doin' real well without 'em 

TiLLiNGER. (Coming dozvn r. c.) Oh, he's as 
smart as they make 'em about business — I mean all 
these foolish notions he's got into his head. 'Twas 
his idea havin' this dinner at night time, wasn't it? 

Mrs. Bascom. Oh, yes, he knew that Elsie and 
Joe'd be back to-day from their honeymoon, and 
'bout four o'clock, up he drove in his big automobile 
— with a man cook and the greatest lot of truck — 
and he said he was going to give 'em a dinner here — 

TiLLiNGER. Well, I swan! 

Mrs. Bascom. He brought another gentlemen, all 



TURN TO THE RIGHT. 113 

dressed up, to wait on table— but I knew that would 
hurt Katie's feelin's. 

TiLLiNGER. Well, it was a mighty stylish dinner 
—if eatin' all them vitals at night don't kill us. 
And now, coffee— in them little cups ! What be we 
all coniin' to! {He helps himself to a cup) 

Mrs. Bascom. Don't the bride and groom look 
well and happy ! 

TiLLiNGER. {Busy with coffee — puts in three 
lumps of sugar) Yes, they do. Seems like Elsie's 
been gone a year. 

Mrs. Bascom. Why, it ain't a month yet. They 
was married three weeks ago Wednesday. 

TiLLiNGER. (About to sip coffec — then offers it 
to Mrs. Bascom) Won't you have some? 

Mrs. Bascom. Why, Deacon— I wouldn't sleep 
a wink. 

TiLLiNGER. That pin shows off good on you. 
Real diamonds, Elsie says. {He inspects Mrs. 
Bascom's bar-pin) 

Mrs. Bascom. Yes, I hate to think what it cost 
'em — and what a nice present you got ! 

TiLLiNGER. {Holding up cane) Yes, 'tis— but I 
ain't feeble enough to need it yet— thank the good 
Lord ! {Puts cup on tray) 

(Callahan enters from helow house as Deacon's 
back is turned.) 

Callahan. {Doubtfully) Mr. Tillinger ? {Rec- 
ognises Mrs. Bascom and crosses to her) Oh, Mrs. 
Bascom — Good-even ing 

(Mrs. Bascom rises.) 

Tillinger. (r. of Calllhan) Why, if it ain't 
the detective ! 

Mrs. Bascom. (Shakes hands, is l of Cllahan) 
Of course, it's Mr. Callahan! Well, this is a sur- 
prise ! 



114 TURN TO THE RIGHT. 

Callahan. I didn't recognize your place at first 
— walked right by it — you've done a lot of improvin' 
since I was here. 

Mrs. Bascom. Land yes — Joe has. 

Callahan. Well, Deacon? Lost any money 
lately ? 

Deacon. Oh! Joe told me all about that, 
smartest trick I ever heard of. Made me like them 
boys from the minute I found it out. 

Callahan. So the Deacon and your son are 
friends. 

Deacon. Friends! Why, I'm his father-in-law. 

Callahan. Yes I know that. (Deacon goes up 
R. c.) Well, I want to see Mr. Bascom on a 
little matter of business — (Mrs. Bascom looks at 
him) Oh, don't worry, ma'am, it's nothing — er — 
professional. 

Mrs. Bascom. They're all in the dining room. 
{She crosses and goes up on porch, Deacon goes 
up-stage) Won't you come right in? 

Callahan. No, thanks. I'd rather see him alone 
first. (Going to porch) Suppose I step into the 
kitchen and you tip him off I'm here. 

Mrs. Bascom. (Going to kitchen door) Why 
certainly, if you want to 

TiLLiNGER. I'll go around to the dining room and 
tell him. 

Callahan. (To Tillinger) Thanks — and tell 
him on the quiet. (Tillinger exits above house. 
To Mrs. Bascom) After you — (He follows Mrs. 
Bascom into house) 

(The door remains open.) 

Tillinger. (Off) Joe! I got somethin' to tell 
you 

Sam. (Impatiently as he enters above house) 
Oh, come on, now ! Come on, Joe ! 



TURN TO THE RIGHT. 115 

Joe. {Off) In a minute, Sam. 

(MuGCS and Gilly enter around veranda. Muggs 
and Gilly are in evening clothes — Sam dressed 
in the height of fashion—large zvhite " button- 
hole", latest shirt, collar, tie and ivaistcoat.) 

Muggs. {Down by well) What's the idea? 

(Gilly looks the table over, then comes down riaht 
of it.) 

Sam. {Takes cigar) This is the right way, I tell 
you. After dinner all the gentlemen and ladies ought 
to separate. Us gentlemen ought to have cigars and 
coffee by ourselves— and then pretty soon join 'em 
again. 

Gilly. When do we do that? 

Sam. {Disgustedly) Oh, I'll let you know. It's 
when I say " Supposin' we join the ladies." {Stand- 
ing above table) Help yourselves to cigars. 
(Muggs and Gilly each attempt to take a handful. 
Sam snatches the bo.v away) No, take one apiece. 
{He looks at them discouraged) My God, {Crossing 
to l. c.) but you're provincial! 

Muggs. We're what ? 
_ Sam. Provincial. You don't know how to act 
right. They wouldn't know what to make of you 
two at one of Henry W. Parker's dinners. (Sam 
lights cigar zvifh pocket lighter which he carries. 
Gilly lights cigar with match from tray) 

Muggs. And you're pullin' ofif this dinner the 
way they do at Parker's, are you? 

Sam. {Crossing to table and drazvs cup of coffee) 
'S near's I can. But it's hard to do anything right 
with a couple of rubes like you. (Muggs sits at 
well. Sam offers him a cup of coffee) Cofifee? 

Muggs. {Looking at cup) Can you spare that 
much? 



Ii6 TURN TO THE RIGHT. 

Sam. Oh, go on, take it ! (Mvggs does so. Sam 
draws another cup. To Gilly. Using society man- 
ners) Demi tasse, old boy ? 

Gilly. What? 

Sam. (Angrily) Do you want some coffee? 

Gilly. Sure. 

Sam. (Offering him cup) Well, here. 

(Gilly takes it. Muggs, who has finished his, 
rises and holds cup out for more.) 

Muggs. Next ! 

(Sam refills his cup and hands it to him.) 

Gilly. It's all right, ain't it ? 
Muggs. It's swell. (Muggs goes to well and 
seats himself. He leaves his cup on well later) 

(Gilly holds out his empty cup.) 

Sam. Oh, wait a minute, now — 'till I get some 
for mysef. (Helps himself) The next dinner I 
give, I'll have your coffee put in a troff ! 

(Joe enters from kitchen.) 

Joe. (Crossing to L. of Sam) Excuse my being 
late, Mr. Martin — I was detained on a little matter 
of business. Oh, thank you ! (He takes cup from 
Sam) 

(Muggs puts cup on well and lights cigar.) 

Sam. (Draws another cup) But business mat- 
ters and dinners don't go together. 

Joe. He knows, boys. He's getting to be one of 
the leaders of society. 



TURN TO THE RIGHT. 



"7 



Sam. (Crossing to l. of well, takes cup zvith him) 
And it isn't so easy getting into society as you'd 
think. The Parkers never could have got me in only 
every one I met said I was so amusing — and now 
I'm being invited everywhere. 

MuGGS. (Rising) Oh, quit boosting yourself. 

(Mrs. Bascom enters from kitchen. Sam puts cup 
on ivell. MuGGS goes l. of Sam. Joe puts cup 
on tray.) 

Mrs. Bascom. (As she enters) Your visitor is 
having some supper, Joe. He's got to go back to 
New York to-night and I thought (Crosses to 
Sam, ivho is r. of Muggs. Joe is r. of his mother, 
and GiLLY is r. of Joe) Sammie might take him in 
his automobile. 

Sam. Delighted, I'm sure. 

Joe. That's fine, dear. 

Mrs. Bascom. It's been a lovely dinner, Sammie. 

Sam. dad you liked it. And we can all afford 
to have dinners like that every night of our lives 

Joe. Yes, look at these four successful men. 
Little Lady. Who do you suppose they owe it to? 

Mrs. Bascom. (Laughing) You're going to say 
it's because I always see the jam in the making — 
When I know you only let me do it just to please 
me. 

Sam. Don't you believe it ! 

Mrs. Bascom. Nonsense, Sammie! Anyone can 
make it — the only difference is that I put in a little — 

Joe. (Interrupting) Mother! That's a secret ! 

Mrs. Bascom. Wliat do you mean, Joe? 

Joe. (Putting his arm about her) I mean you 
put something into every jar of that jam — something 
you don't know about yourself, I guess. And if you 
do, you mustn't tell — or every boy's mother might 
do the same thing. 



Ii8 TURN TO THE RIGHT. 

Mrs. Bascom. (Kissing him) What a boy you 
are! (Crossing to porch) Don't forget, Sammie, 
and start off without your passenger. 

Sam. No, ma'am. 

(Mrs. Bascom exits into kitchen.) 

Joe. Say, where's Betty's car? I thought your 
chauffeur was going to bring it over here. 

Sam. He was. It's time he was here now. 
(Takes out watch in chamois skin case) Betty 
doesn't know about it yet, does she? 

Joe. Not yet. 

Sam. Wait until she sees it. Say, I want to 
thank you again for this watch, Joe. Hear it strike ! 
(Holds it up to Mugg's ear) 

MuGGS. What do you think of that ? 

Sam. You and Elsie came home loaded with 
presents for everybody just as though it was Christ- 
mas. Now, supposin' we join the ladies ! 

(Betty, Elsie and Jessie enter from above house. 
Sam starts up r. of well. Sees them cowing 
and comes down l. of well. Joe, Gilly and 
MuGGS also start to go.) 

MuGGS. (Coming back) It's workin' wrong 
again, Sam — they're comin' to join us. (Muggs 
puts cigar on well) 

Betty. What became of you all? 

Elsie. (Going to Muggs then crosses to Gilly) 
Oh, they're talking money and business as they al- 
ways do 

Muggs. Well, money don't make a bad topic 
when you've got some. 

(All begin talking in groups — Muggs, Betty and 
Sam, l. of well. Gilly and Elsie, r. c. Joe 
and Jessie, c.) 



TURN TO THE RIGHT. 

Sam. You are looking quite charm- " 
ing to-night, Betty. 

Betty. Oh, thank you. It was a 
perfectly lovely dinner. 

MuGGS. He's showin' us how the 
four hundred eat. 

Jessie. I want to thank you again 
for my beautiful bracelet, Joe. 

Joe. I knew you'd like it — Elsie 
picked it out. 

Elsie. I'm so glad you could give 
Joe such splendid reports of the busi- 
ness. 

GiLLY. It was up to us to show him 
he could get away once in a while. 



119 



(Spoken 
together. ) 



(Katie enters through kitchen door.) 

Katie. Mr. Martin, Mr. Martin, your chauffeur 
is asking for you. 

Sam. Is he out in front of the house. 

Katie. Yes, sir. (Katie gets cups from well, 
removes tray, etc. She exits to kitchen) 

Sam. Supposin' we all go out there — Joe's got 
somethin' to show you. (Offers Betty his arm) 
Allow me, Betty. 



Betty. Oh, what is it? 

Sam. Another of Joe's surprises 

Jessie. Perhaps it's fireworks 

GiLLY. (To Jessie) Can I show 
you the way? 



(Spoken 
>■ together.) 



(As she exits on veranda) Come along, 



Elsie. 
Joe. 

Joe. In a minute, dear. (Catches Gilly by coat 
sleeve) Gilly! (Muggs has started after Betty 
and Sam who have gone up l. of well to exit. 



120 TURN TO THE RIGHT. 

Muggs, I want to see you two a minute. (Sam 
and Betty, Jessie and Elsie exit together, above 
house talking and laughing) I didn't bring a present 
for you guys. (Joe is c. Muggs is on his l. and 
GiLLY his R.) 

Muggs. Say, don't Joe 

GiLLY. You're givin' us more 

Joe. (Breaking in) But I thought you might 
like a picture to remember me by. (He feels in his 
pocket) 

Muggs. I should say I would ! 

GiLLY. Did you have 'em taken while you was 
away ? 

Joe. (Handing photo to Gilly) Here's yours, 
Gilly. (Handing one to Muggs) And here's yours. 

(Muggs and Gilly start as they recognize photos.) 

Gilly. Joe ! 

Muggs. God, Gilly it's us ! 

Gilly. From the rogues gallery. 

Muggs. Sure — with the number and everything — 

Gilly. Joe — how'd you get 'em ? 

Joe. Oh, a pinch of salt and Callahan. 

Gilly. Callahan ? 

Joe. Yes, and he had some job — wouldn't take 
a cent, either. 

Muggs. Say, Old Pal — (With tears in his voice) 
— I'm going to remember you for this right up to 
my time for " Lights out ". 

Gilly. That goes for me too, Joe. 

(Muggs and Gilly put pictures in their pockets. 
Betty rushes on from above house, wild with 
excitement. Gilly goes r. Muggs l.) 

Betty. Joe ! — Joe — Oh, it's beautiful — And the 
man says I can learn to drive it in no time! — Oh, 



TURN TO THE RIGHT. 121 

Joe, you're just a darling— I— I — Oh, Joe— ! (She 
throws her arms around him, and bursts out laugh- 
ing and crying) 

Joe. {Petting her) Did you see your initials on 
it? 

Betty. Are they? Where? 

Joe. On the doors. 

(Betty rushes back above house, calling ) 

Betty. Maw! Maw! — (Mrs. Bascom comes 
onto veranda from kitchen ) I got a new automobile I 
— It's a run-around ! — And it's got wire wheels and 
everything. Hurry, Maw, I want to look at my 
initials! (Betty dashes off above house, the boys 
go to Joe — he is between Muggs and Gilly at zvell. 
Mrs. Bascom hurries from veranda after Betty) 

Muggs. That's sure being some happy, Joe ! 

Joe. (Smiling) I've felt like yelling that way 
ever since I was married — (Muggs and Gilly look 
away) I tell you it's wonderful when — when — 
Oh ! — Say, boys, do you remember what you 
promised me when we went into business together? 

Muggs. About Betty? 

Gilly. And Jessie? 

Joe. Yes. 

Gilly. And we've stuck to it, Joe. 

Muggs. Sure, we have. We bought two engage- 
ment rings six months ago — but we never said 
nothin' about 'em. 

Joe. Well, that promise is off. 

Muggs. Of! ! 

Gilly. Do you mean it? 

Joe. You agreed to say nothing until you'd made 
good 

Muggs. You think we have made good, Joe, 
honest ? 

Joe. If two fellows ever made good, you have. 
{Goes up R. c.) 



122 TURN TO THE RIGHT. 

GiLLY. I ain't missed Sunday school in forty 
weeks. {Goes up towards Joe) 

Joe. I'll see if I can find them for you — (Joe 
exits above house) 

GiLLY. {Coming back to Muggs) There's some 
kid! 

Muggs. And he's got some sister ! 

GiLLY. And she's got some friend! 

Muggs. And now we can ask 'em. 

GiLLY. And we've both got bank accounts. 

Muggs. And we got 'em on the level. 

GiLLY. And our mugs ain't in the rogues gal- 
lery. 

Muggs. Dudley ! 

GiLLY. Lucius ! 

{They shake hands.') 

Muggs. Joe's lookin' for the girls. They'll be 
here in a minute. 

GiLLY. {Frightened) Can't we both ask 'em 
together ? 

Muggs. What do you mean? 

GiLLY. Somehow, I don't like the idea of being 
alone when I ask Jessie 

Muggs. Afraid? 

GiLLY. Scared stiff ! 

Muggs. Me, too. Got your ring? 

GiLLY. It's up in the room. {Starts to kitchen 
door) I'll go up and get it. 

Muggs. {Turns l.) Bring mine down too. 

GiLLY. Sure. {Comes back) I think I'll send 
mine to Jessie with a note. 

Muggs. {Comes back to Gilly) Oh, you can't 
propose to a girl that way. I wouldn't mind askin' 
Jessie 

Gilly. I wouldn't mind askin' Betty! {With 
sudden idea) Say, Muggs — would you — do that 
for me? 



TURN TO THE RIGHT. 123 

MuGGS. Do what? Ask Jessie? 
GiLLY. I'd do the same for you. 
MuGGS. (Sees Jessie coming above house) Ssh! 
Jessie. (To Gilly as she comes down r. of him) 
Joe asked me to bring Betty out here — but she's off 
in her car. It's the cutest thing! And she's just 
wild about it. 

Gilly. {Unable to speak at first) Jessie, I — ! — 
Excuse me — I want to get something — (Gilly exits 
into house) 

MuGGS. Jessie — {She turns to him) How 
would you like to — to — er — sit down ? 
Jessie. Oh, I ain't tired ! 
MuGGS. But I want to ask you something. 
Jessie. Oh ! {Sits right of ivell) 
MuGGS. Have you ever thought about getting 
married? 

Jessie. {Surprised — looks front) Why — of 
course I have. 

MuGGS. Ever thought you would? 
Jessie. You don't think I want to die an old 
maid, do you ? 

MuGGS. No, sure you don't! {Sits beside her) 
Jessie, would you — will you — ? 

Jessie. Why, Lucius ! — I — thought you were in 
love with Betty! (Rising) I couldn't marry you. 
MuGGS. (Rising) I don't want you to marry 
me — I'm askin' you for Gilly. 
Jessie. You're what ? 

MuGGS. Yes, he made me promise him I would. 
Jessie. Well, of all the meanest things — I'll never 
speak to him again as long as I live — {She rushes off 
above house) 

MuGGS. {Calling after her) Jessie — wait a 
minute — listen — (He sits down by well, looking front 
hopelessly. Gilly carefully comes to door and 
peeks out. He sees Muggs alone) 

Gilly. Voming to r. of Mvggs) Did you fix it? 



124 TURN TO THE RIGHT. 

MuGGS. Yes, I fixed it. 

GiLLY. Which way did she go? 

MuGGS. That way. (Pointing above house) 

(GiLLY starts after her — stops.) 

GiLLY. Here comes Betty. Blow — quick — ! 

(MuGGS rises. Gilly tries to push him off l.) 

MuGGS. Blow yourself. 

Gilly. But you fixed it for me, now I want to 
fix it for you. 

MuGGS. I'll do my own fixin' — beat it — get out ! 
(Pushes Gilly to l.) 

(Betty enters above house.) 

Betty. (Comes dozvn r. c. Sees boys) Jessie 
wants to see you, Dudley. You better go right away. 
She's awful mad about something 

Gilly. (Goes up l. of well, starting off above 
house) Thanks ! 

MuGGS. (Suddenly — running to him up R. c.) 
Say, wait a minute 1 (Gilly stops) Did you get 
that? 

(Betty goes l. of well.) 

Gilly. Eh? — Oh! — Here — (Hands Muggs ring 
in box, then exits quickly) 

(MtJGGS takes ring from box, then puts box in 
pocket. Keeps ring in hand. Betty does not 
see it.) 

Betty. Why didn't you come to see my car, 
Lucius ? 



TURN TO THE RIGHT. 125 

MuGGS. I was detained. {He holds ring in right 
hand by his side. Looks at it meaningly, then 
breathes on it, and rubs it on his coat sleeve, Betty 
sees the ring) Betty I got something terrible im- 
portant to say to you. 

(Elsie and Joe come on from below house.) 

Joe. (Seeing them) Hello! 

MuGGS. (Takes Betty's hand and draws it 
through his arm) Will you take a little walk in the 
orchard, Betty? — (To Elsie and Joe) Excuse us 
a minute 

(Betty and Muggs exit to orchard. Elsie goes to 
c. of zvell, Joe close to her.) 

Joe. (r. of Elsie) I guess they don't want 
anyone around just now. 

JElsie. We didn't. 

Joe. Happy ? 

Elsie. (Looks up at him, smiling) Isn't it a 
wonderful world ! 

Joe. (Turning her head up r. c.) Look! 

Elsie. (Looking at house on the hill, up r. c.) 
Home! 

Joe. Home ! Isn't it a wonderful word ! 

(Mrs. Bascom comes from above house on 
veranda. ) 

Mrs. Bascom. (r. of Joe) Joey — Sammy and 
Mr. Callahan are waiting to say good-night to you. 
They're out in the automobile. 

Joe. Well, we'll go and say good-night to them, 
and we'll get Sam to drive us over — (Looking at 
Elsie) Over — ? 

Elsie. (Smiling at him) Home! (He kisses 
her) 

Joe. (Goes to her) Good-night, mother ! 



126 TURN TO THE RIGHT. 

Mrs. Bascom. Good-night, boy ! (He kisses herj 
Elsie. (Goes to mother) Good-night, mother. 
Mrs. Bascom. Good-night, darling ! (^S he kisses 
her) 

(Elsie goes to Joe up r. c.) 

Joe. (Starting above house with Elsie) Oh, 
Sam — give us a lift home, will you? 
Sam, (Away off-stage) Delighted, I assure you. 

(Mrs. Bascom looks after them as they exit. Gilly 
and Jessie enter quickly below house.) 

Jessie. Oh, Mrs. Bascom — I want to show you 
something. (Jessie meets Mrs. Bascom center — 
shozvs her engagement ring — Gilly gritting and 
looking on) 

Mrs. Bascom. Oh, my dears, I'm so glad ! (As 
Mrs. Bascom is about to kiss Jessie, Muggs and 
Betty enter from the orchard — quickly) 

Betty. Maw! — Maw! — Look! (Shows Mrs. 
Bascom her engagement ring) 

Mrs. Bascom. (Kissing her) My darling girl! 

Jessie. (Crossing to Betty — Muggs crosses af 
hack to L. of Gilly) Oh, let's see! (Looks at 
Betty's ring) See mine ! (Shows it to Betty) 

Betty. Jessie ! 

Jessie. Betty I 

{They embrace and reverse positions.) 

Muggs. Dudley ! 

Gilly. Lucius! (They embrace) 

Muggs and Gilly. Mother ! 

{Auto starts. Stops at house. After count of five, 
the lower windows are lighted.) 



TURN TO THE RIGHT. 127 

"Mrs. Bascom. (Coming behveen them) Boys — ! 
X^She has an arm around each of them — then each 
kiss her on the cheek) 

Jessie. (After loiver windozvs are lighted. Count 
five then auto starts from house to l.) Dudley 

GiLLY. (Crossing to her) I'm going to take her 
home 

Jessie. (Taking his arm) Let's go through the 
orchard 

(GiLLY and Jessie start toward orchard.) 

MuGGS. Oh, Dudley. Don't hurry back! 

(Bell strikes 10 o'clock.) 

GiLLY. Don't worry! 

(Jessie and Gillie exit to orchard. As auto passes 
bushes, lights go out in lower ivindows.) 

Betty. (Going up l. of well with Muggs) We'll 
sit on the piazza a litle while. (Light window up- 
stairs. Count five and slowly draw down the shade. 
This is timed so that as soon as Muggs and Betty 
■cross to house the shade is lowered) 

Mrs. Bascom. (Smiling) As long as you like — 

(Betty and Muggs exit above house. As shade 
comes down, Mrs. Bascom turns front, clasps 
her hands and raises her eyes toward heaven.) 

CURTAIN. 



128 TURN TO THE RIGHT. 

APPENDIX. 

PROLOGUE. 

HAND PROPS. 

On Counter. 

Joe's coat. (Under counter) 

Shawl. 

Pawn ticket pinned to shawl. 

Doll. 

Wrapping paper. 

Rubber bands. 

Chalk. 
On Repair Table l. ' 

Old pressing cloth. 

Pressing board. 

Iron holder and iron. 

Pipe attached to iron. 

Small pressing cloth. 

Needles, thread and thimble. 

Chalk, etc. ^ 

Hanging Back of Curtain c. 

Blue serge suit. 

Check suit. 

Several other suits. 
Off-stage l. c. 

Bottle of whiskey. 
Off-stage l. i e. 

Joe's blue serge vest 

A duplicate pair of checked trousers with $io 
bill in pocket 
Money. 

Isadore — ^4-$! bills, 2 quarters. 



TURN TO THE RIGHT. 129 

LIGHTING— PROLOGUE. 
(At rise.) 



Foots. 

Blue up full. 

Amber down to limit. 

Frosted white enough to tone the blue. 
First Border. 

Blue ^ up. 

Amber J/^ up. 
Third Border. 

Blue up full. 

Pinks ^ up. 

{A single globe in entrance l.) 

1000 Watt Lamps on Back Drop. 
On l. of Stage. 

No. 3 Chocolate, frost and blue. 
2 Pink — blinded. 
I Blue. 
On r. of Stage. 
No. 4 Blue. 

5 Chocolate, frost and blue. 
On r. of Stage Throwing up Against Side 

Backing. 
No. 6 Blue. 

7 Bunch light — pink — y^ blinded. 
After Curtain is well up. 

Start lights very slowly up to marks. The first 
border to keep ahead of foots. 
Foots. 

Blue down and out. 
Amber up to yi full. 



I30 TURN TO THE RIGHT. 

First Border. 

Blue — not touched. 

Amber up to % full. 
Third Border. 

Blue — not touched. 

Pink up to full. 
Lamps on Drop and Backing. 
No. 5 Put blue in front and draw of C. F. B. 

2 When No. 5 is % off — draw blinder. 

3 Follows No. 2. 

4 Put a little frost in to lighten drop. 
6 Put a little frost in to lighten backing. 

All lights to be at high mark when Gilly exits 
at back. 



ACT I. 

HAND PROPS. 

On Table c. 

Colored apron. (Jessie) 

3 plates. 

2 cups. 

2 saucers. 

Cruet. 

Pitcher of milk. 

Knives. 

Forks. 

Spoons. 

Sugar bowl. 
In Drawer. 

Bottle of flavoring extract. 

White table cloth. 
On Table at Window. 

2 sticks about i8" long. 

2 tablespoons. 

Bowl of sliced peaches. 

2 glasses. 



TURN TO THE RIGHT. 131 

On Chair at Window. 

Red table cloth. 
At Sink. 

Pump, practical. 

Wash basin. 

Dish pan with hot water. 

Tin quart measure. 

Two plates. 

Garbag-e pail. 

Dish cloth and wiping cloth. 

A wooden cloth hanger. 

Piece of soap. 
On Floor at the Chimney. 

Preserving kettle and large wooden spoon 
On Shelf over Sink. 

Mirror. 

Hair comb and brush. 

Drinking glass. 

Dish of soap. 

Two vases of flowers. 
In Cupboard. 

Bucket of sugar in lower section. 

Sugar scoop in bucket. 
On Flat Top. 

Plate with cut lemon and squeezer. 

2 plates, knives and forks (For Muggs and 
Gilly) 
In Right Drawer of Cupboard. 

Face towels and dish towels. 
In Left Drawer of Cupboard. 

Knives, forks, spoons, etc. 
Upper Section of Cupboard. 

Jar of jam and spoon. 

Glass with spoons in it. 

Glasses, dishes, cups, saucers, etc. 
On Shelf at Chimney. 

Clock. 

2 lamps with paper bags on chimneys. 



132 TURN TO THE RIGHT. 

On Small Stand l. 

Bible on top of stand. 

Album on shelf. 

Mrs. Bascom's work basket on shelf. 

Spectacles in work basket. 
In Drawer. 

Tillinger's bill. 
On Shelf l. 

Whisk broom. 

Vase of flowers. 
On Hat Rack r. of Door l. c. 

Parasol. 
On Wall Near Sink. 

Box of spice. 

Box of salt. 
On Chimney. 

Several nails on which are hung pots, pans, etc. 



Off-stage l. 

Empty jar u. e. 

2 prayer books at u. e. 

1 prayer book at parlor entrance. 
Off-stage r. 

Basket filled with jars of jam. 

Jar of chicken broth. 

Large kettle filled with preserves. (Smoking) 

2 kerosene lamps fitted with electric batteries in 

globes. 
Bundles with doll and shawl for Joe. 
Fuller's earth. 
Food for Boy's Supper. 

A dish of potatoes and cream. 

Spoon. 

Broiled chicken. 

Lettuce. 

Bread. 

Large pitcher of milk. 



TURN TO THE RIGHT. 133 



CUES FOR EFFECTS OFF-STAGE. 

to help with the dishes. 

Clock strikes six. 

when Betty turns from window 

after Tillinger's exit. 
Clock strikes one. (6 : 30) 

sit down, fellows. (Betty 

opens door) 
Effect of food cooking; outside. 

Now you blow. See. 

Church bell rings continuous until curtain. 
Clock. 

5 : 55 at rise. 

help with the dishes, Jessie. 

6:00 

at half past six. 

6:15 

TiLLINGER S exit. 

6:30 

Tiffany food. 

6:45 

Will you kindly open the door. 

6:55 



MONEY FOR ALL ACTS. 

GiLLY receives two (2) ten and two (2) five dollar 

bills, 3-silver half dollars. 
TiLLINGER receives two (2) ten and two (2) five 

dollar bills. 
Sam receives four (4) ten and six (6) five dollar 

bills. 
Elsie receives two (2) ten and two (2) five dollar 

bills. 



134 TURN TO THE RIGHT. 

IsADORE receives four (4) one dollar bills and two 

(2) quarters. (Prologue) 
Joe receives one ( i ) five dollar bill. 
TiLLiNGER — Large envelope containing two deeds, 

check, receipted bill. 
Sam — Order book and pencil. 



LIGHTING. 

ACT L 

(At rise.} 
Foots. 

Ambers % up. 
First Brder. 

Ambers }i up. 
Fourth Border. 

Pink up full. 

Blue up full. 
1000 Watt Lamps on Back Drop. 

Numbers commencing at flat and running to 
drop. 

On r. of s. — No. 1 Blue. 

2 Pink. 

3 Orange. 

4 Pink. 
On l. of s. — No. 6 Pink. 

7 Pink. 

8 Blue. 

Baby spot in first border — pink, covering easychair 

and stand. (Comes up on cue) 
Music — strip amber in foots to light up Mrs. 

Bascom's face when she sits at stand to read 

bible. (Comes up on cue) 
Baby spot from l. across back of window to light 

Joe's face. 



TURN TO THE RIGHT. 135 

2 oil lamps, students, with batteries, etc. (Betty 

brings them on) 
A single globe in entrances, r. and l. 

CUES. 

T . , On Deacon's first entrance. 

i-ights start slowly down. 

Foots and ist border to low mark. 

4th border— Blue remains up full. 

Pink comes down to tone blue. 
1000 Watt Lamps. 
No. 4 Blinded. 

2 " 

3 " 

^ J?/.'"^~'*^^^'"^ ^" opening of about one inch. 

7 Bhnd with No. 2. 
6 Follows No. 7. 

8 Follows No. 6. 

When the Deacon makes his 

first exit. 
All lights are down to their low marks, except a 

very little orange is left in No. 3. 

_, When Betty leaves the window. 

Ihe orange in No. 3 blue slowly down and are 

out by time Mrs. Bascom makes her 

entrance. 
Darken woodshed entrance before Betty makes 

her exit. Turn on light before she makes 

her entrance. 

7- When Betty enters with the 

two oil lamps. 
Foots and ist border come to % as she opens 

door. Then to ^ as she walks to table with 

the lamps. 

As Mrs. Bascom sits in easy- 
chair. 



136 TURN TO THE RIGHT. 

The music strip in foots comes slowly to full. 
When Mrs. Bascom rises to meet Joe — Music 
strip down and out. 

As Betty brings lamp to stand 

by Mrs. Bascom. 
The baby spot in ist border comes up to %. 

After Betty places lamp in 

window. 
No. 6 Blind is drawn off, leaving blue. 
8 " " 

1 " " " " " " 

2 " " " " " " 
When Elsie enters. 

Foots come to %. 

1st border comes to ^4- (To provide more light for 
the comedy scene following) 



ACT n. 
HAND PROPS. 

Off-stage l. 3 e. 

Wheel barrow. 12 baskets of peaches, i loose 
peach to go on last load of peaches. 
Off-stage r. Above House. 

Child's wagon. 

6 empty peach baskets. 

I empty market basket. 
Off-stage r. in House. 

Broom and dust pan. 

Small tray with bottle of liniment, cup of water 
and small towel. 

Empty market basket. 

Brown paper parcel. (Meat) 

Small watering pot. 
On Steps of Porch. 



TURN TO THE RIGHT. 137 

Basket of filled preserve jars. 

Labels in box or saucer. 

Small dish with water and small sponge. 
On Well. 

L. of well on the curb — Bucket and rope. 

On top of well l. — drinking cup. 
Sam — Bank book. 

Fountain pen. 

Pencil. 

An agreement. 

Piece of paper with figures on it. 



MONEY. 

Sam — 4-$io bills, 6-$5 bills. 
Elsie — 2-$io bills, 2-$5 bills. 
Deacon — 2-$io bills, 2-$5 bills. 
Joe — 1-$5 bill. 
GiLLY — 3-silver $1^. 



LIGHTS. 

Foots. 

Amber and blue up full. 
All Borders. 

Pink, frosted white, and blue up full. 
1000 Watt Lamps. 

On l. 1st E. — I blue, i pink and blue. 
2nd E. — 2 pink. 
3rd E. — I blue, I pink. 
4th E. — I blue, I pink. 
On R. Back of set row, on floor — i blue. 
Above house — i pink. 
Spots in fly gallery on r. 
Back of 1st border — i frost. 
Back of 2nd border — 2 — no mediums. 



138 TURN TO THE RIGHT. 

Strip Lights. 

On L. back of orchard set piece — i blue. 

On L. back of ground row — i blue. 

On R. back of keg drop — i blue. 
Baby Spots. 

On L. — first entrance (4) — 2 frost, 2 
pink. 

On R. — first entrance (4) — 2 frost, 2 
pink. 
Bunch Lights. 

Through window of house — i pink. 

Above house — i blue. 

NO CHANGE OF LIGHT DURING ACT. 



ACT III. 

HAND PROPS. 

On Stage. 

2 wicker chairs on porch. 
I wicker table on porch. 

1 wicker chair r. c. on lawn. 
Off-stage r. in House. 

Tray — cofifee percolator. 

4 cups, saucers, and spoons. 

Box of cigars, cigarettes. 

Cigar clipper. 

Bowl of lump sugar with tongs. 

Matches in box. 
Gold headed cane. 

2 pictures. 

2 rings in boxes. 
Bell to strike ten o'clock. 
CUE Don't worry. (By Gilly) 



TURN TO THE RIGHT. 139 

LIGHTING. 
Foots. 

Blue up full— Amber down to limit. 
All Borders. 

Blue up full. 
1000 Watt Lamps. 
On l. of Stage. 

1st Entrance — i light blue, i dark blue. 
2nd Entrance — i light blue, i dark blue. 
3rd Entrance — i light blue, i dark blue. 
4th Entrance — i light blue, i dark blue. 
On R. — back of set row on floor. 

I dark blue. 
Above house. 
I light blue. 
Spots in Fly Gallery. 

Back of 1st border — i light blue. 
Back of 2nd border — 2 light blue. 
Baby Spots. 

L. I E. — 4 light blue. 
R. above house — i pink. 
R. in house — comes through door — i pink. 
Bunches. 

Through window of house — i pink. 
Above house — i light blue. 
Strip Lights — Same ast Act U. 

CUES. 

When Callahan exits to 

house, leaving door open. 
Amber foots come up %. 

When Joe and Elsie exit above 

house. 
Amber foots down and out. 



I40 TURN TO THE RIGHT. 

For Auto and Lights in House on Hill. 

Mother — Boys. 

Auto with head lights and rear end light starts 

from R. 
Stops at house. 

Count 5 — lower windows are lighted. 
Count 5 — Auto starts downhill to l. 
As it passes bushes, turn out lights on lower 

floor. 
Sit on the piazza awhile — upper window is 

lighted. 
Count 5 — slowly lower the shade. 
This is all timed so that as Muggs and Betty pass by 
house to exit, the shade starts down. 



H 487 85 1 








^/.Z %. 



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